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THE

Photographic Journal

America

THOMAS COKE WATKINS, Editor

VOLUME LIV

PHILADELPHIA

Edward L. Wilson Company, Inc., Publishers

701 ARCH STREET
1917

INDEX

C. R., 148.
Allan, Sidney, 10, 57, 103, 509
Among the Societies, 123, 168, 228, 532
"Anastigmat," The Choice of a Lens, 370
Architectural Photography, Notes on, 365
Artist out of the East, An, 1

BACKGROUNDS, On, 10
Brevities, 435, 488, 532
Building a Successful Studio Business, 8
Butler, Norman, 98

CARBON Printing, Modern Methods of,
422
Carbon Prints upon Celluloid by Single and

Double Transfer, 215
Carbon Process for the Finishing Artist, The,

217
C. H. C, 455

"Chemist," 61, 215, 253,461
Cherry, Arthur L., 217
Clark, Frank Scott, 504
Claudy, C. H., 15
Clothes in the Picture, The, 521
Coburn, Alvin Langdon, 153, 219, 298
Collins, Bertha L., 100
Color Prints on Opal, 154
Color Sensitizers, Two New, 419
Commercial Photography, 249
Commercial Photography, A few Important

Points on, 514
Composition, A Talk on, 501
Composition and Arrangement, 47
Coover, L. G., 143
Crain, Jr., G. D
Correspondence: Worth While Letters on Live

Ideas, 167, 226, 267, 308, 346

DEISCH, Noel, B.A., 467
Delery, Henry C, 365
Demachy, Robert, 451
Dench, Ernest A., 107
Design and Commercial Use of Box Enlargers,

471
Developer for Producing Prints of Exceptional

Beauty, 461
Developer, Very Rapid, 9
Direct Positives on Bromide Paper, 55

EDITOR'S Table, 427, 477, 522
Elsden, A. Vincent, B.Sc, F.I.C., 208
Enlargements on Concave or Flat Glass Sur-
faces, 253
Enlargements as a Source of Extra Profit, 143

FIELD Botany and the Camera, 255
Flashlight in Portraiture, The, 211
Focal Length and Pictorial Quality, 412
Focal Lengths and Lens Stops, Mistakes Regard-
ing, 22

GETTING Your Studio Into the Movies, 107
Gilbert, F.B., 139
Greene, M. Louise, Photographer of Children,
100

HALF-TONE Reproduction, How to Make
Photographs for, 151
Hammond, John Martin, 292
Hartmann, Sadakichi, 10, 57, 103, 509
Havelock, Bertram E., 471
Head Operator, 30, 75, 124, 171, 231, 269, 309,

348, 384, 436, 489
Hitchens, Alfred B., Ph.D., F.R.P.S., 139, 419
Huse, Kenneth, 405

TNDIVIDUALISM,, 409

JL Influence of Illumination in Determining the

Color-quality of Autochromes, The, 467
Intensifying with Uranium, 98
Iron-Silver Printing, Variations in, 292

LAMBERT, F. C, F.R.P.S., 22
Le Mee, M., 154
Light Effects, On, 103
Lighting, Artistic, 505
Long-focus Lens — And Why, A, 469

MASTERS in Portraiture:
Jean Baptiste Grenze, 111
Joshua Reynolds, 65
Rembrant, 18
Methods, 25, 114
Miniatures, 289

IV/TcALLISTER, Margaret, 289

NIETZ, Adolph, 405
Night Photography, Simplified, 334
Notes and News, 26, 71, 119, 163, 223, 264, 303,
379, 484, 529

OIL Transfer Process, 451
Orthochromatic Photography, 298
Orthochromatic Plates and Light Filters, 367
Outside Trade, 15

PATENT News, 46, 92, 138, 184, 288, 326,
364, 402, 450, 500
Perspective for Photographic Artists, 463
Photographers' Creed, The, 426
Photography's Call to the Colors, 332
Pictorial Photography, The Future of, 153
Pittsburg Salon, The, March 1 to 31, 70
Pittsburg Salon, 1917, 185
Pohle, The Work of Frederick, 509
Porterfield, W. H., 1, 185
Portrait Photography as a Business, 403
Portraiture, 148

LIST OF ILLUSTRATORS

Producing Photographs in Black Sulphide of

Silver, 61
Professional Photographer and the Reflecting

Camera, The, 455
Professional Portraits of Children, 93
Putting Your Business Under Your Thumb — A

Simple System for Getting Facts, 327

AYMER, Felix, 505

Removal of Hvpo by
Water, 208

Washing with

SCOTTEN, T. A., 249
Sepia Tones by Direct Development, The
Productions of, 405
Service and the Commercial Photographer, 52
Show-cases, a Few Remarks on, 518
Shufeldt, R. W., M.D., 255
Smith, W. J., 514

Stanard, F., 521

Studio, The— Practical Papers on Studio Work

and Methods, 115, 159, 220, 259, 301, 340,

377, 429,479, 525
Studio Ethics, 504

TENNANT, John A., 93, 403
Tone and Values, On, 57
Trabold, Edward R., 334

IEWS and Reviews, 344, 431
Vortography, 219

WATER Thermostat for Maintaining Photo-
graphic Developing Solutions at Con-
stant Temperature, 139
\\ "hiring, Arthur, 463
Wilson, J. Clyde, 327

Workroom, The, 30, 75, 124, 171, 231, 269, 309
348, 384, 436, 489, 535

LIST OF ILLUSTRATORS

Bachrach Studios— March, June, October
Beeson, C. E. — May
Bonnar, David W. — May
Boughton, Alice — April
Brown, Margaret De M. — May

Chaffee, A. D. — May

Choate, Alice — May

Core, E. B. — March

Cowell, Francis W. — May

Craigie, R. — March

Crowther, C. — January, October

Doolittle, James N. — September
Duhrkoop, R. — January, March
Dunning, Edwin G. — May

Gatschene, O. M. — March
Gillies, John Wallace — May
Gottheil, A. — February
Grainer, Franz — March
Greene, M. Louise — March

Hals, Franz — January
Henderson Studio, Henry — July
Hollyer, F. — January

Kales, Arthur F.-
Kuhn, H. — March

-May

Lifshey, S. H. — March

Lockwood, Milton — February, March

McEvoy, Ambrose — February
Macnaughton, W. E. — September
Mather, Margrethe — May
Matthews Studio — September
Michalek, L. — January
Millais, Sir John — February
Mix, E. L. — February

Nesson, H. Remick — May

Offner, A. — February

Perscheid, N. — February
Phibbs, Harry C. — May
Photographic Bureau N. Y. Edison Co.
Pohle, Frederick— December
Porterfield, W. H. — May

Rabe, W. H.— May
Raeburn — January, March
Raupp, Erwin — March
Reece, Jane — April, September
Rubens — January, February
Ruegge — March
Ruf, C— March

Schneider, E. — February
Shields, Wm. Gordon — May
Shufeldt, R. W., M.D. — June
Stewart, Julius — February
Strauss-Peyton Studios — August
Struss, Karl — April

Terras, P. G. — February
Trabold, Edward R. — August

Van Dyck — March
Von Glehn — February

Watts — January
Walters, Emile — February
W'eimer, W. — February
Weston, Edward Henry — May
Whitman, Roger B. — November
Wiehr, B. — March
Wiltse, Mary W. — May

April

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THE PHOTOGRAPHIC JOURNAL OF AMERICA

701 ARCH STREET, PHILADELPHIA, PA.

New York Office: 122 East 25th Street

new series < WiL^KI^ PH0T0URAW1U] MAUAWKIIJ

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THE PHOTOGRAPHIC
JOURNAL OF AMERICA

VOLUME LIV

JANUARY, 1917

NUMBER 1

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77i/5 Number Contains:

AN ARTIST OUT OF THE
EAST

By W. H. Porterfield

ON BACKGROUNDS

By Sadakichi Hartmann

OUTSIDE TRADE

By C. H. Gaudy

BUILDING A SUCCESSFUL
STUDIO BUSINESS

THE WORKROOM

rwfimii mail muu nam »m uuiu nam mini nam am aim, n m w in in1 n«l

EDWARD L' WILSON COMPANY- INC'
122 E ' TWENTY-FIFTH ST -NEW YORK

sol

THE OLDEST PHOTOGRAPHIC MAGAZINE IN AMERICA

The Double Cross

for the

Amateur Photographer
and Cyko

A photographic dealer writes
as follows:

"The finisher who does our work
cannot any longer continue to use
CYKO Paper on account of the in-
crease in cost of chemicals and labor,
and he intends to substitute a cheap
brand of paper.

"Our finisher prefers to keep work-
ing with ANSCO products to fulfill
the promises made in his advertise-
ments as regards quality."

The list price of CYKO is the same
today as before the war, although raw
materials have doubled in price.

Can you beat it?

Ansco Company

Binghamton, N. Y.

SELF-PORTRAIT
By C. CROWTHER
KOBE, JAPAN

PHOTOGRAPHIC
JOURNAL-
'S^ AMERICA •

VOLUME LIV

JANUARY, 1917

NUMBER 1

JAN

AN ARTIST OUT OF THE EAS'

By W. H. PORTERFIELD

PERHAPS it was a year, perhaps
two years, ago that a print bearing
the name of C. Crowther, Kobe,
Japan, found its way from the land of
the Mikado to a busy city in the West-
ern world, and served as an introduc-
tion to the work of an artist who
apparently was content when he pleased
those clients who found their way to
his little studio on the hill which over-
looks the bay at Kobe.

As yet no salon juries have been
asked to pass upon his pictures, and
aside from the publicity which awaits
the presentation of this article it is
not said that he sought recognition in
any way other than resulted in the
approbation which came from discrimi-
nating friends upon whom he was
pleased to turn his camera.

Whether it was modesty or an
independent disregard for the world's
opinion may never be known. Be that
as it may, the little print above men-
tioned was his undoing, for soon after
its arrival here a request went forward

for further samples, and as a result we
are able to present to the readers of
Photographic Journal of America a
fairly comprehensive collection of prints
which reveals unmistakable ability and
a truly remarkable "up-to-dateness,""
notwithstanding the isolated location of
the artist and consequent absence of pic-
torially inclined associates that when
present contribute so much to one's pro-
gress, and from whom, as we all know,
council and advice are invaluable.

If Crowther is without this advan-
tage he has, as a partial recompense
for the loss, a freedom from the influ-
ences of conventionality and that
stultifying conservatism which has
caused many a genius to cap his lens
forever, because he dared attempt an
incursion into the realm which preju-
dice and preconception have until very
recently denied to the artist photog-
rapher.

It is a privilege sometimes to have
been a pioneer and to have enjoyed an
unrestricted development, particularly

(1)

AN ARTIST OUT OF THE EAST

when one possesses well-defined ideas
of what one desires to accomplish.
This apparently was the condition
under which Crowther took up photog-
raphy in Japan, some twenty years
ago, and to it in no small degree may
his individuality be attributed.

Running through a portfolio of prints
we are forced to the conclusion that he
never indulged in the hard, sharp,
highly polished, hand-laundered brand
of portrait so commonly met with a
few years ago, because he shows none
in that style. Instead, we do find in
his prints just that amount of diffusion
which delights the eye, yet in rto
instance destroys character or removes
a single line from the face of the
sitter.

In the portrait of Tagore, one
immediately becomes acquainted with
the great Hindu poet and philosopher,
for so truly has the artist succeeded in
his delineation of character that some-
how this wonderful face inspires in one
a deeper appreciation and a greater
understanding of the beautiful and
enchanting words in "Gatinjali," "The
Crescent Moon," and "The Gardener,"
and we at once feel something of the
benign influence of the man who in
India is regarded as akin to the gods.

If one would challenge the versatility
of the artist, surely the exquisite "Child
Portrait" is sufficiently convincing to
command the admiration of the most
critical.

Beyond question, technically and
pictorially, the mind is left to enjoy
undisturbed the winsome sweetness of
a lovely face with appealing eyes
which look out over a wayward curl
that so fortunately fell (?) into just the
correct position to complete the fault-
less lines of composition.

Passing from what might be termed
the poetical aspect of Crowther's work,

we find him equally sensitive to the
more vigorous phases of human nature,
such as are evidenced in the character
of strong men and active women.

One could imagine no greater error
committed by a portraitist than an
attempt to apply the same rule and
methods to all "manner of men."
This Crowther does not do, and his
prints prove it. To fully realize this
fact it is obvious that a careful study of
his work is necessary, just as one would
make himself familiar with any subject
in order to fully appreciate the subtle-
ties that distinguish the consistent and
intelligent craftsman from one that
produces quantity rather than quality
and hits a high spot now and then
only by accident.

It would hardly be possible for any
magazine, however generous with space,
to reproduce any one person's work in
sufficient quantity to cover the entire
field of their activity, yet it is hoped
that the readers of Photographic
Journal of America will find in the
accompanying illustrations ample evi-
dence to warrant the brief notice given
here and to accord to a successful
portraitist in a distant land a little
of the recognition to which he is so
justly entitled.

Under what difficulties, if any, Mr.
Crowther works; the time at his dis-
posal which may be devoted to photog-
raphy (he is not a professional) ; what
equipment he possesses, we are unable
to say, and after all, what does it matter?
It is the mentality of the man which
interests and concerns us. By his work
we shall know him, not by the value of
his apparatus, and it is by studying
the former and not the latter that we
will profit in our acquaintance with this
Englishman, who, if not the first, was
surely one of the earliest devotees of
pictorial portraiture in Japan.

SIR RABINDRANATH TAGORE

By C CROWTHER
KOBE. JAPAN

SELF-PORTRAIT

By C. CROWTHER
KOBE. JAPAN

By C. CROWTHER

KOBE. JAPAN

By C. CROWTHER

KOBE. JAPAN

LOOKING PLEASANT AT THE
PHOTOGRAPHER"

THE YEARS THAT HAVE PASSED

'A MAN FROM HOME
" BETWEEN PUFFS"

By C. CROWTHER

KOBE, JAPAN

BUILDING A SUCCESSFUL STUDIO BUSINESS

PROBABLY photography was never
so prosperous as it is today — not
even in the much-vaunted past,
when single prints fetched several dol-
lars. And yet, however much good
times are in evidence, there are — must
be — always some who feel the stringency
of things. A photographic editor is ever
receiving letters from readers who have
not been able to find the key to success,
and naturally they think there is a fault
or a miss somewhere, and that it is not
in themselves. To a certain extent
they are — some of them — right. There
may be local circumstances which tell
against a man, just so surely as in other
cases the conditions are favorable.

"There is nothing succeeds like suc-
cess," but that is but added bitterness to
the unsuccessful one. There are many
men in small towns and villages who
never get any money ahead, and who
when hard times come find the hard
times to be very real. Unfortunately
(and it is a thing that an editor feels
keenly when hopefully asked for advice)
there is no easy way out of tight places.
Energy is the only thing — or rather
energy is the essential backing thing—
which will work the miracle.

First, a word as to what is a "big"
business. The word is one suggested by
our correspondents rather than by our-
selves, for it is a fact not always realized
by them that the businesses they speak
of so enviously are sometimes anything
but big.

People are not unknown — even among
those included in the magic words " Fifth
Avenue photographers" — who employ
as small a staff as many a struggling
photographer whose assistants are
limited to one or two members of his
own family. The big business men are,
many of them, never heard of outside
their own cities. There are big busi-
nesses not only in New York, but in
Boston, Philadelphia, Chicago, Pitts-
burgh, and other cities — businesses quite
unknown, yet doing a turnover infinitely
larger than that of many a well-known
man. What is meant is what has been
termed "individual" photographers:
(8)

those who have made their business by
a strong personality in the photographic
end as much as in the business end.
Now, to speak of the big business for a
moment, we have said that many of the
biggest are the least known. They
usually owe their position to two things
— capital and energy. In their own
cities they are quietly and consistently
pushing after business. Even if they
never go for general publicity in news-
paper columns they may, none the less,
be working in those circles from which
they can reasonably expect to draw
custom.

But the general run of photographer
does not taste the advantages of capital.
And it is from this general run, which
furnishes those who write inquiringly
to an editor, that the successful men are
drawn ; and it is this fact of having been
"through the mill" that ever makes
them ready to tell what they can toward
helping others along; and it is because
their example may be followed by those
who are not blessed with capital that
editors describe their work and their
methods.

There is nothing occult or mysterious
in a large city; some workers seem to
think that the larger the city the more
chance there must be to find an unoccu-
pied niche. If there is any choice in
such matters, probably it is against,
rather than in favor of, the large city.
It may at least be said that the proper
place to commence the road to success is
where a man now is. The successful
man usually changes because he has
outgrown a place, not because it has
starved him out. He makes his success
up to the limit of the place's possibilities
before he reaches after the larger.

The difference is not so much between
big and little business as between suc-
cessful and unsuccessful ones. It is
very difficult for the unsuccessful man to
grasp this. He dreams that the other
man has better lenses or more equipment,
a capable operator or a new style of
skylight. These imaginations are often
wide of the mark, and the success is
but the logical outcome of hard thought

BUILDING A SUCCESSFUL STUDIO BUSINESS

and hard work — backed by an aggressive
business energy.

There is one hard fact which should
be grasped by everyone who wants to
get among the successful businesses, and
that is that things were never as pros-
perous as they are now, and may never,
in our lifetime, be more prosperous.
The deduction is that right now is the
time to start ahead; there must be no
waiting till harvest is over or until the
winter season commences; there must
be no waiting "for something to turn
up."

How is the progress to be commenced?
That depends on individual conditions;
but one thing is a primary certainty,
the work must be good — work that will
appeal to people as being good, and
draw repeat orders and new customers.
The work must be put before the people.
This means advertising in every way
that seems to be suited to local condi-
tions. Advertising, remember, is not
merely a matter of spending money for
printer's ink. Much advertising, both
in newspapers and circulars, is so much
money wasted, because the advertiser
has not thought out the wording of his
announcement. And sometimes an
advertisement may be obtained with-
out the cost of a penny if a man is
wide-awake and alert. Good business
management is a necessity — and many
photographers are bad business men.
All have felt, at some time or another,
the shortcomings of assistants. But
few realize that there may be similar —
or other — shortcomings in themselves.
There is a tremendous drain of waste

in many businesses — plates needlessly
exposed, spoilt prints, overpersuasion
when the drummer calls, leading to
overstocking. When the work is right
then prices should go to a self-respecting
figure. And everything should be done
to deserve success.

"But," it may be said, "everybody
cannot reach the top." That is true;
but still there is always room a little
ahead for the man who likes to climb
up to it. We have too few leaders —
the more the better, for themselves and
for photography. And there is another
aspect of the case which should not be
lost sight of. The reward of the success-
ful man is not solely a money one; there
is a very real satisfaction in the mere
producing of good work, and the more
the work improves the greater is the
craftsman's delight in it. And congenial
work is a very pleasant thing. There
may be such a thing as very much
improved work and very little improved
income. We meet many men, and have
more correspondents, and among them
we know not a few who are chafing
against very circumscribed surroundings
and looking in vain for the larger field.
Still, even in these cases, the time has
been well spent, and the photographer's
pleasure in his work has been enhanced
— chronic growling has been changed to
divine discontent. But this is seldom
finality; the discontent is a necessary
stage in the step to a wider field; and
sooner or later, in some of the cases, the
opportunity will come — or be made —
and there will, from time to time, be
new names added to the "men that are."

Very Rapid Developer. Those who
are fairly confident of the correctness
of their exposures should give a trial to
the one-minute development method
of Joannovich. Two solutions are pre-
pared as follows:

Water 50 ozs.

Sodium sulphite . ' . 5 ozs.

Metol joz.

Hvdroquinone ... \ oz.

Water 50 ozs.

Potassium carbonate . . 5 ozs.

Solution A is placed in a developing
tank, and a rack of plates immersed in
it for thirty seconds, motion being given
the rack to avoid bubbles. The plates
are then removed and immersed in a
tank filled with solution B for thirty
seconds, and are next rinsed in water
and transferred to the fixing bath. A
single plate should be experimented with
first, as the method is a very drastic
one.

ON BACKGROUNDS1

By SADAKICHI HARTMANN

(sidney allan)

SIR JOSHUA REYNOLDS is often
quoted as having said that the back-
ground is the most important and
difficult part of a portrait. This is, no
doubt, a slight exaggeration. The ren-
dering of the face and figure is, after all,
the principal thing.

But nobody will deny the difficulty of
making a background simple and unob-
trusive, and yet effective, so that it will
form an harmonious part of the picture
and show the head and figure in a way
that one gets the impression as if they
were surrounded by space and atmos-
phere.

There are really only three kinds of
backgrounds: First, the simple, plain
background, which consists merely of a
differentiation of values, a gradation
from black to white. Second, the arti-
ficially arranged or studio background,
that deals with accessories and intro-
duces lines and forms into the play of
light and shade. And third, the home
portraiture background, which tries to
make the best of the momentary
environment.

I shall deal largely with the first,
because it reveals the fundamental
principles that underlie the making of
a background better than either of the
other two. The same laws that apply
to the plain background also apply,
with few modifications, to the studio
and home portraiture backgrounds.

At the very start I must confess that
there are no distinct rules to go by. In
the profile and three-quarter view I was
able to assert that such and such a view
was the most favorable one. It is im-
possible to do this with backgrounds.
They depend too much on the com-
plexion of the face; on the color and
form of the hair, headgear, and wearing
apparel; on the particular silhouette the
sitters make against the space behind
them, and the general arrangement of

1 From "Composition in Portraiture."
(10)

lines and light and shade of the com-
position. It is a new problem in each
instance.

There are, however, a few back-
ground arrangements that are typical,
as they have been in use ever since
portraits were made. I have tried to
reduce them to the eight forms shown
in the diagrams. Of course, the light
spot in Diagram 1 could just as well
occur on the right side, and all the var-
ious arrangements could be entirely
reversed ; that is, for instance, in Dia-
grams 3 and 4 the light part could be
dark, and vice versa.

A background (excepting those of
absolute monotone tints) always con-
sists of two masses, one lighter than
the other. The lighter one is gener-
ally the smaller. The separation of
the two masses is produced merely by
a juxtaposition of tints; one feels that
they are separated, but one cannot say
where either ends; they glide into each
other by the means of more or less
subtle gradations. At times they may
look like a mere jumble of black and
white, all mixed up in their planes, but
even then one should be able to trace
vague shapes of light and darker masses.
It is always the same struggle between
light and darkness. The all-dark or
all-light background (one single tone
without differentiation) is the simplest
type. A plaster cast looks well against
a solid black ground, and a bronze bust
against a monotone tint, but it will
never do in portraiture. The Secession-
ists and extreme tonalists have often
fallen into that error. There must be
somewhere some slight differentiation of
values, some accidental light, some
passing shimmer, some apparently
meaningless spots or accents, or the
surface will look dead and the figure
as if pasted on the background (if the
latter is light) or entirely lost in the
background (if dark).

A narrow strip (Diagram 5), either

ON BACKGROUNDS

darker or lighter than the remainder
of the ground, along the top or bottom
of the picture (and for that matter
^.lso along either of the upright sides),
is often used effectively. It looks
rather bold, yet furnishes an accent
and helps the background to recede in
the picture and to suggest space behind
the figure.

The most popular form of a back-
ground is shown in Diagram 1. We all
know it. I venture to say that 75 per
cent, of all background arrangements are
made on that principle, i. e., to show

the lighted part of the face against a
middle tint plane and to surround the
head with more or less darker planes.
A variation of this principle is shown
in the Mrs. Simpson, of Raeburn. The
strongest highlights in the figure occur
in this instance in the side that is
ordinarily shown in shadow. The result
is a stronger contrast against the dark
planes of the background.

Diagrams 3 and 4 show backgrounds
that were extensively used by the
English portrait painters. They have
been so much tried successfullv that

ON BACKGROUNDS

they cannot help being effective.
In Diihrkoop's portrait we have the
arrangement of Diagram 3, and in
Watts' "Lady Gervagh" and Raeburn's
"Colonel Scott" the reverse of the
same. Any art magazine or illustrated
history of art will prove the popularity
of these two forms of background.
Diagram 6 is particularly suitable for
decorative work or when the head is
small and you want a similar effect on
both sides of the figure.

The arrangement in Diagram 2 is
capable of the most artistic effects. It

was applied with preference by the
Dutch portrait painters. The idea is
that the light spot is a trifle larger than
the head of the sitter. This will allow
slight patches of light on both sides
of the head. If you place the lighted
part of the face against the darker part
of the background, you have the famous
Rembrandt effect. The Rubens self-
portrait is composed on that principle.
Of course, no picture reproduced here
carries out exactly the shape and values
of the black-and-white arrangements of
my diagrams. I merely have endeav-

ON BACKGROUNDS

3URNE-JONES
BY F. HOLLYER

LADY GARAGH
BY WATTS

SELF-PORTRAIT
BY RUBENS

MISS SIMPSON

BY RAEBURN

COLONEL SCOTT

BY RAEBURN

ored to come down to typical forms
that are the basis of subtler and more
elaborate arrangements. If half a dozen
pages were put at my disposal for the
reproduction of paintings, I could abso-
lutely prove to you the correctness of
my theories. As it is, I can merely
make some suggestions and leave the
remainder to your investigation. We
ought never to forget that composition
cannot be taught like a language.
After all, we only know and appreciate
such ideas and facts as we have gathered
from our own observations and experi-
ence.

In Diagrams 7 and 8 I show you two
backgrounds that are frequently applied
by modern portrait painters for standing

figures. Whistler, Chase, and many
others seem to be particularly fond of
the arrangement in Diagram 7. If the
floor is lighter than the rest, the result
is a distinct contrast between fore-
ground and background. It helps to
suggest actual space the picture gives
in prospective depth, and the figure
is enveloped, as it were, in vibrating
air. Diagram 8 is simpler and shows
merely that if the floor is as dark as the
space behind the figure, a lighter spot
must occur somewhere to break the
monotony of the background compo-
sition.

As for the background with acces-
sories, it seems that the old masters
carefully avoided them in their por-

ON BACKGROUNDS

PORTRAIT OF AN ADMIRAL
BY FRANZ HALS

MY MOTHER
BY L MICHALEK

traits whenever they could. A back-
ground should be simple first of all.
They were, however, fond of vertical
lines, and frequently introduced an
open window in one corner of the
picture. This suggested an interior,
and as the space occupied by the
window and the landscape outside was
invariably in a lighter key than the
rest of the background, it helped the
chiaroscural part of the composition.
The Dutch masters, striving for more
picturesqueness, did not hesitate to
put the window right behind the head
of the sitter, as in the "Portrait of an
Admiral," by Franz Hals. But if you
study it carefully you will realize that

PORTRAIT
BY R. DUHRKOOP

DUSE AND MARION LENBACH
BY FRANZ VON LENBACH

it merely is a version of the arrange-
ment in Diagram 4. And in all the
elaborate landscape and curtain and
column arrangements of the English
portraitists you will find the same. It
can always be traced to the contrast
of dark and light planes, and the juxta-
position of black and white in spots
and masses.

The old window idea, reduced to a
vertical line division of dark and ligher
planes, is cleverly used by modern por-
traitists. A good example is Hollyer's
portrait of Burne Jones.

The home portraiture background
will always look a trifle amateurish
unless superior knowledge of composi-

OUTSIDE TRADE

tion is applied. I fear the depiction
of an interior like Michalek's "My
Mother" is photographically an impos-
sibility.

The plain background is always to
be preferred. The sketchy background,
as applied, for instance, by Lenbach
(which still belongs to this category),
opens up new possibilities. A few
scratches and daubed-in accents are
apparently all. And yet, as unim-
portant as these technical details may
seem at the first glance, they lend
virility, variety, and comprehensiveness
to the total effect. With their help
an otherwise dead surface becomes ani-
mated, the silent begins to speak, and
the dull turns colorful.

But only a trained artist can do it,
and it is largely a matter of tem-
perament.

The trouble with the painted-in back-
grounds that have lately become so
fashionable in photography is that they
are not made by trained artists. They
are merely indifferent imitations of the
backgrounds of well-known paintings,
and often in no light relation whatever
to the subject depicted.

It is probably hardly necessary for
me to say that the silhouetted and air-
brush backgrounds are no backgrounds
at all, artistically speaking. They may
have their commercial value, but no
pictorial pretensions whatsoever. They
are in as bad taste as the carved arm
chair, potted palm, and papier mache
column of former periods.

The simple, plain background will
win out. It is the most normal and
dignified of backgrounds. I still may
add that the lighter a background is
the more cheerful and pleasant it will
look, while a dark background will
suggest depth and be sure of a more
serious and dignified effect. The vaguer
the differentiation of values the more
refined and elegant an impression
the background will give; on the other
hand, if you strive for brilliancy, the
contrasts between dark and light must
be more pronounced.

Yet remember that it will be a new
problem with every sitter, with every
pose, and for that reason, if for no
other, it is well to speculate in a few
of the most typical forms, as I have
endeavored to do in this chapter.

OUTSIDE TRADE

By C. H. CLAUDY

IF you haven't any, there is only
one place to put the blame.

There is always an outside trade
for every business. If the man who
runs the business doesn't get it, some
other fellow will.

These things being so, isn't it up to
you, who naturally want to make all the
money you can, to go after a little out-
side business?

Let it be understood right from the
start that I am not attempting to tell
you that you should try to cabbage the
commercial trade from your commercial
competitor, unless you are strong on
that sort of work. But there is a great
deal of trade belonging to you, and not

to him, which he gets because you don't
know enough to make it known that you
want it. A commercial photographer,
whose business it is to make landscapes
and buildings and machinery and pet
dogs and newspaper pictures, and a
few other varieties, is not going to turn
down an opportunity to make a por-
trait, but some such portraits, made
under what are, at best, poor portrait
conditions, are sights for the gods who
oversee the mistakes of mankind.

If you know how to make a portrait
under your light, you should know how
to make one elsewhere. It isn't at all
a safe gamble that you do, but if you
know the principles, as well as the

OUTSIDE TRADE

practice of portrait lighting and making,
you will succeed as well in the home as
in the studio, albeit with more trouble.

Now, suppose you try advertising the
fact that you make portraits at home.
Try something like this:

Let the Studio Come to You

If you cannot come to 999 Main Street to be
photographed, I will bring the studio to your
home.

I can make you a "home portrait" or I can
make you a portrait in your home that is in
every way the same as my gallery work.

Smith, Photographer.

Put it in the paper. Put it in several
times — the announcement, not the same
wording — and see if you don't get
plenty of replies. There are old people,
and bedridden people, and sick people,
and children and babies, and lazy people,
and rich people, and people who want
something new, and people who want to
talk about something different! There
are a lot of home portraitists traveling
around the country and getting good
prices for good work, and I don't see
why they have to be out-of-town people
to get the trade of your town !

Here is another card, just by way of
suggestion:

Your Picture in Your Home

You cannot bring your home to my gallery, but
I can bring the essentials of my gallery to your
home. Your portrait in the surroundings your
friends know is something they will cherish.

The price is not high — ask me.

Smith, Photographer.

Now agree with me, for the sake of
argument, that you have orders for home
work. How are you going to go about
it? To transport your heavy screens
and camera to a house is absurd. You
have got to have some special rig to
carry. Speaking from experience, I can
assure you — and the best and biggest
of home-portrait men will uphold the
statement — you don't need half the
things you will think you want.

You must have a camera and a lens.
Make it a light view camera, your
portrait lens and shutter.

You must have a background. You
will have to have it because some
people won't want a home background;

but, because you won't need it all the
time, it is foolish to carry a lot, and
heavy ones at that. Get a piece of dark
red and light gray stuff, have them
sewed back to back, put hooks on one
edge, get some picture wire and two
bradawls, and you are equipped. Roll
it, don't fold it. You have thus two
portable backgrounds, hooks to hang
it upon, wire, and bradawls to stick in
the top of door frames and window
frames, where the hole won't show, and
to which you attach the wire.

You will want a reflector. I suppose
nothing less than a wire ring and stand
will do you; but if you can manage
with it — as many a man does — a col-
lapsible frame of light wood and a
small piece of sheeting, the whole to be
supported on a chair, is all that you
need.

Finally, a small hammer, some tiny
tacks, and plenty of cheesecloth, and
you are equipped to turn any room into
a studio. If you cannot learn to so
modify a window light with cheesecloth
and reflector that you are enabled to
make a first-class lighting, you had
better keep out of the business; but
just remember this, lots of men do it,
and what others can do and have done
you should be able to do also.

Because you will find people less
critical of home work than gallery work
is the poorest excuse in the world for
doing work you would not let out of
your gallery. The very amateurish
amateur has set his ineradicable stamp
on "home portraits," and your average
customer will expect a soot and white-
wash portrait, with ink for the shadow
side, and be so pleasantly disappointed
when she doesn't get it that she will
overlook other shortcomings. But that
is no excuse for making them, and you
want to remember that there are others
to see that picture, and critical others
at that.

I should strongly advise your study
of a book on composition. You have
simply got to have some knowledge of
line and composition and balance if you
are going to make a success of making
portraits with a background of reality,
instead of the Stygian blackness or
smoky cloudiness which your studio

OUTSIDE TRADE

background allows you to use to hide
possible errors of composition. Your
patron may not know a plane from a
pipestem, or realize at all the difference
between a well-balanced picture and
one that is toppling over into an abyss
— may not know that lines lead and
carry, or that there is a way into and a
way out of any picture which is properly
made; but some one with critical judg-
ment is going to know, even if they
cannot put a name to it, when your
picture is incorrect, and so you will
suffer in the end.

You will find, of home portraits, the
easiest to make are those which require
but the head and shoulders. Unless
you are a double-dyed-in-the-wool, a
yard wide, and warranted fast-color
home portraitist, you want to watch
with an eagle eye, lest you attempt to
make a head and shoulders with a
" home " background. For that way lies
the easy road to failure. It takes a
pretty level head and a pretty good
artist to put a large head and shoulders
against anything but a plain and innoc-
uous background, and unless you are
sure of what you are doing, stick to
plain ones. By plain backgrounds it is
not meant that the surface of the cloth
must show no design. One of the most
effective and appealing pictures I ever
remember seeing, made in a home, was
of an angel-faced child, by Pierce, of
Boston, in which an old shawl, with a
subdued pattern, was used as a back-
ground. But here, again, is a pitfall.
Beware of it! A pattern in a back-
ground must never intrude — it must
tone in, be a part — not stand out and
seem to be that plane of which the
face and shoulders are a part.

The most effective home portraits
are those pitched in a low key — this
does not mean a small range of deep
shadows, where the contrast is small.
I cannot pretend to state why these
pictures enjoy so much popularity,
unless it is that one naturally expects
the opposite from much suffering at
the hands of the amateur beginner and
his steep mountains of contrast.

In portraits in the home, with the
home background, watch carefully for
the obtrusive background. You are

not making a picture of a bookcase, or
a desk, or a sideboard, or a chair, or a
mantlepiece, or a fireplace. You are
making a portrait of a person, and you
are going to suggest their location and
habitation — not shout it from the pict-
ure. You will have to learn something
of the use of stops in separating planes,
and learn that there is a degree of indis-
tinctness which is pleasing, and a further
degree which is inadmissible, and govern
your lens opening accordinglv.

I would warn you against the too
conventional pose. Milady reading a
magazine by a lamp, which you "artisti-
cally" light up in the retoucher's room,
may be a masterpiece, but it is much
more apt to give a real artist a pain.
Grandpa, dreaming over an open fire,
made with a newspaper and frantic
adjurations on your part to "sit very
still — don't move — through in a min-
ute," may please the brominic person,
but will set you forever beyond the pale
of the truly elect. I would suggest your
standing in prayerful contemplation
before — well, Whistler's "Portrait of
His Mother," for an understanding of
what simplicity may mean in a picture
in the home.

Now there is the question of price.
It seems to me that I should do one of
two things, were I attempting to work
up such a trade. I should either charge
a high price for the single picture and
a reasonable one for the dozen, or I
should charge so high a price, single
or by the dozen, that people would not
want very many. Both courses have
something to recommend them, and it
largely depends on the kind of town and
class of trade you have. On the whole,
I incline to a reasonable charge by t he-
dozen or half dozen, but a stiff price
for the single picture. There is too
little profit in the single picture, at
anything less than a stiff price, to
make it worth while. On the other
hand, if people want a single unique
picture, as they have been known to
do, the stiff price goes without ques-
tion.

But making a dozen at home at but a
small increase over gallery charges gives
you a beautiful chance to advertise that
your price is not high — and, if you have

MASTERS IN PORTRAITURE

the time, or can hire a good man to
do such work, you can well afford to
make three or four "sittings" at home
in a day — or in a week — at a price not
greater than one-third more than your
regular gallery price for the same size
picture — always providing that your
gallery does a reasonably high class of
trade. If you are making cabinets at
S10 the dozen, you can make them at
home for $12.50— certainly for $15. If
you can get $18 in the studio for an
8 x 10, you should be able to make it

$24 to $30 in the home. Many home
portraitists would hoot at such prices —
they get from $5 to $10 per single
picture, and it is exactly in this terrific
price that your opportunity lies. They
could hardly do it for less, and live —
doing that exclusively. With you it
is, as it were, a side line, and gives you
an opportunity for extra money which
should be all to the good, even if done
at a moderate profit — a profit you
could not live upon were it your sole
source of income.

MASTERS IN PORTRAITURE— REMBRANDT

OF all artists, Rembrandt van Rhyn
is perhaps the one that is most dear
to the Anglo-Saxon mind. Like
Shakespeare's dramas, his paintings rep-
resent to us one of the great art expres-
sions of all times. It is difficult to
classify him, he was so universal and
proficient in all the various phases of his
art. Although no idealist in his personal
expression, he understood how to imbue
every object with a deep spirituality,
and it is this spirituality which appeals
to art lovers even more strongly than
his wizard-like technique and profound
knowledge of life.

His portraits have the same char-
acteristics as his larger compositions.
He represents the soul-life of people.
They become alive under the magical
touch of his brush. Technically this
was brought about by the wonderfully
accurate reproduction of outward ap-
pearances and his mastery of chiar-
oscural problems. The expression of
light and shade became to him the
vehicle of both imagination and emo-
tion. Deprive Fig. 4 (the portrait of
his wife, Sasikia, as a young girl) of the
peculiar light effect, much that can
be admired will still remain; but the
principal charm, the finest essence, the
soul of the picture will be gone.

For years the art world has made
use of the term Rembrandt lighting.
I think it is largely a misapplication.
Rembrandt was so versatile in his

light and shade improvisations that
it would be difficult to express it by
one pattern. Rembrandt lighting was
considered a system of lighting in
which the lighted side of the face was
opposed to a dark background, and the
shadow side opposed to a light back-
ground. Now, study the twelve accom-
panying pictures, twelve masterpieces
of portraiture; you will not find a single
one where this scheme is exactly carried
out. There is a frequent juxtaposition
of light and dark, but it is generally a
lighted cheek against a profusion of dark
hair. Fig. 1, perhaps, comes the nearest
to it. There we see a streak of vivid
light along the upper arm on the shadow
side of the picture; but the other side of
the background is almost equally bright.
In Figs. 2. 5, 6, and 10, we have a similar
scheme. He apparently had a special
preference for lighting up the opaque-
ness of the shadow side with a glimmer
of light; but we do not notice it in Figs.
4, 9, and 11. In Figs. 6 and 12 the
lighting comes more from the front,
but the treatment of the background is
very much the same as in Fig. 7.

We notice, however, that the painter
was very fond of contrast, and strong
contrasts are naturally best produced
by a juxtaposition of light and dark,
and he used this device most effectively
in the majority of his portraits. 1
will even give in that it became a
mannerism with him; but he invariably

MASTERS IN PORTRAITURE

I. PORTRAIT OF HIMSELF
2. SASIKIA

3- PORTRAIT OF A MAN
4. REMBRANDT'S WIFE

followed the whims of the moment, the
dictation of his eye, which by long
experience knew where an accidental
touch or shimmer would add to the
picturesqueness of the composition. It
never became with him a stereotype
system that had to be carried out at
every instant. And that is where his
imitators fail, and we surely pay no
tribute to the painter's genius if we
consider every crude adaptation of his
style a work of artistic merit.

It seems to me that his light -and-
shade composition was guided largely
by the costume of his time. Men wore
wide-brimmed hats, very much like
ladies do nowadays, and so he used
them to best advantage (vide Figs. 1,

5, and 7) by having the brim shade the
forehead and eyes, showing the latter
through translucent darkness in sub-
dued brilliancy. With him light had
to illumine every nook and corner. He
wanted no complete darkness, no opaque-
ness— everything had to vibrate with
air and reflected light.

The costume itself was picturesque
at that period. Men still wore armor,
chains, and embroidered knee-breeches.
No painter has ever made use of acces-
sories in such a beautiful and convincing;
manner. Everything that was unneces-
sary he eliminated — drowned it, as it
were, in transparent shadows and one-
dominating tonality — but any object
that was beautiful in itself, as a chain,

MASTERS IN PORTRAITURE

5. PORTRAIT OF HIMSELF

6. PORTRAIT OF A MAN

7. PORTRAIT OF HIMSELF

8. JOHN SOBIESKI

a ribbon, or a piece of gold or silver lace,
he would depict in vague outlines, pre-
serving the form by dozens of high-
lights and thereby producing quaint
designs that would embellish the large
dark planes that we invariably find in
his bust portraits.

Fig. 4 looks as if it were painted in
candlelight or the light of a lantern.
The source of light was very near the
face, or the dividing line of light and
dark could not be so sharp on the lower
part of the bust. But the effect is
startling — poetically beautiful at the
same time — and that is no doubt what

the painter wanted. As I have said
at the very start, light was to him the
great spiritualizer. It brought out
unforeseen beauties. The face became
animated as with an inner light.

Some of the light schemes are more
ordinary, Figs. 2, 3, 10, and 12, for
instance; but the division of light and
dark planes is always masterly. Rem-
brandt did not model his faces by
subtle va'ues, but by strong contrasts.
Why did he depict the "Man with the
Copper-colored Nose" (Fig. 9) in an
even light? Because the man is old;
his face shows too many wrinkles;

MASTERS IN PORTRAITURE

MAN WITH COPPER-COLORED NOSE
PORTRAIT OF AN OLD WOMAN

PORTRAIT OF A RABBI
PORTRAIT OF A LADY

there would be too profuse a differen-
tiation of small light and dark planes
in any other light. The very contrast
he made use of consisted of the juxta-
position of the white beard and the
uniform middle tint of the upper part
of the face. This is a wonderful lesson,
and nearly everyone of his pictures can
teach us an equally valuable one.

In Fig. 1 1 we notice that as soon as
there are other objects of interest
besides the face (as the hands, turban,
and various ornaments in this picture),
the lighting of the face becomes less
strong — the face must produce its effect
as a large plane and not by a variety
of minor contrasts. In Fig. 10, hands,

cap, and collar are all light, so he used
more forceful drawing, but did not
accentuate the high-lights and shadows.
If he had done so, the face would have
lost in importance.

Also much information can be gained
by studying the arrangement of the
general outline against the background.
Figs. 1 and 3 are rather indifferent.
A three-quarter view in an oval never
looks as well as a symmetrical front
view; but Figs. 6, 7, and 8 are excellent
in that respect. Notice how the feathers
and brim of the hat have been utilized
in Fig. 7, and the contour of the hair
in Fig. 6. In Fig. 5 the division of space
is unsatisfactory. There is a confusion

22 MISTAKES REGARDING FOCAL LENGTHS AND LENS STOPS

of lines, and the face is too low in the
picture. In Fig. 8 the outline is less
clear than in Fig. 6 or 7. There is a
reason for it. The costume of King
Sobieski is so gorgeous, and there are
so many objects of interest, that a clear
contour would make us feel them too
much; there would be too many lines,
and the face would no longer be of
sufficient importance to control and
balance the other objects.

In Figs. 2 and 4 we have the sup-
pressed outline. It is partly lost in
the background. Rembrandt seemed
to favor this arrangement in his rep-
resentations of women. It lends more

mystery to their form and permits of
a subtler concentration of light. The
illumination of Fig. 2 as well as Fig. 4
would be impossible to Fig. 12. Either
the outline had to be blurred into the
background or the background made
considerably lighter in parts.

Thus, every one of Rembrandt's
portraits offers opportunity for specu-
lation. "How would it be if this were
different?" or, "Why did he treat it
in this way and not otherwise?" could
be asked in every instance. And by
trying to answer these questions we
become acquainted with the intricate
mechanism of composition.

MISTAKES REGARDING FOCAL LENGTHS AND

LENS STOPS

By F. C. LAMBERT, F.R.P.S.

FOR many years past it has been
my pleasant and interesting duty
to deal with a very large number
of queries from beginners and others.
Two of the topics which turn up with
almost mechanical regularity are how to
measure the focal length of a lens and
how to measure the // values of stops.

For very rough-and-ready purposes it
suffices to focus the lens on any distant
object, measure the distance from the
ground glass or image plane to the stop,
and call this the focal length. Also,
if this rough-and-ready focal length be
divided into portions, each precisely
equal to the diameter of a stop, we get
the // value of that stop by taking the
number of times the stop diameter
divides into the focal length.

Once again be it said there are rough-
and-ready methods often ' ' near enough , ' '
but they are not correct at all and may
be considerably "out."

Only a few days ago a querist wrote:
"I have just bought for £10 a lens by
A. B., stated to be 8 inches focus and
working at f/6.5 ; but on focusing for a
distant object I find the image-to-stop
distance is nearer 9 than 8 inches,

and dividing this distance by the
diameter of the largest stop it comes
nearer 8 than 6, etc." I have no doubt
whatever that this lens issued by a firm
of front-rank repute was all that it
was said to be, and that the faults
imagined were due to defective pro-
cedure on the part of my querist.

Accuracy is very generally thought to
be the same thing as immense trouble
and skill. For a very high degree of
accuracy often great care is required,
but for a practical degree of accuracy
this is by no means always the case,
as I shall proceed to show in the case
of measuring focal lengths and stops.

Let us divide our work into two steps:
First as regards focal length, second as
regards stops.

We need one or two very simple,
easily made bits of apparatus. First
of all we take a strip of paper or card,
1 inch wide and, say, 12 inches long,
and mark it off accurately into inches
and tenths. (See Fig. 1.) Also, we
want a flat, wide cork, e. g.\ out of a
pyro bottle. Next a long French or
wire nail. The nail is thrust through
the cork exactly at its centre and

MISTAKES REGARDING FOCAL LENGTHS AND LENS STOPS 23

pushed home so that the nail and cork
will stand firmly on their heads. (See
Fig. 2.)

Now we take an empty plate box and,
holding this with the long side edgeways
flat on the table, we fix a post-card to
its vertical edge by a couple of touches
of any adhesive, e. g., gum, seccolene,
office paste, or sealing wax. .

In Fig. 1 we have the card scale,
cork and nail lens rest, the lens, and
the post-card focusing screen.

We now open a window giving on
some distant view or object. Then going
to that side or end of the room opposite
the open window we put a small table.

Then placing our post-card focusing
screen facing the window and view
beyond (Fig. 2), we then put one end
of the inch scale touching the post-
card, rest the cork and nail on the card
scale, and rest the lens on the nail
point at such a position as gives us a
sharp picture (image) on the post-card.

Having got good definition with the lens
held horizontally between thumb and
fingers (Fig. 2), we give the lens a slight
twist to the right or to the left, keeping
it horizontal all the time, closely watch-
ing the image on the card screen.
If the image moves when the lens is
rotated sideways on the nail-point sup-
port, then the nail is not supporting
the lens at the right place. Note this:
If the image moves the same way that the
lens end next the image moves, the nail is
too far away from the image. If the
image moves in the opposite way to the
swing of the lens, the nail is too near the
image.

Having found that point of support
of the lens which enables the lens to be
rotated sideways without producing a
change of the position of the image, we
then measure the distance between the
point of the nail and the post-card, or
image plane. This we easily do with
the aid of the card scale, and so we get
the true focal length of the lens.

It will thus be apparent that while
measuring the focal length from the
position of the stop is often "near
enough," it is not sufficiently accurate
for all purposes. (At times, though
somewhat rarely, the stop happens to
coincide with the posterior nodal plane
or Gauss plane.)

If the lens be reversed and the above
process repeated we shall then find its
anterior nodal or Gauss plane. The two
nodal planes may be but seldom are
coincident. They are usually an ap-
preciable distance apart. Having found
the posterior nodal plane it will be
useful to mark the lens tube so that
this plane may be easily found for other
measurements, of which more anon.

Measuring the fj Value of a Stop

The true // value of a stop is found
by dividing the focal length by the
diameter of the cylinder or pencil of
light entering the lens.

In the case of a single lens with a stop
in front of the lens, then the diameter
of the stop measures its entrant pencil
or cylinder or beam of light. Hut
where the stop is behind the lens, then
the diameter of the stop is smaller than

24 MISTAKES REGARDING FOCAL LENGTHS AND LENS STOPS

the entrant cylinder. Hence, in this
case, if we take the diameter of the stop
and divide this into the focal length
we should get a stop number too large.
By way of example, suppose the focal
length to be 6 inches, and the diameter
of the stop to be j inch. Then 6 divided
by | is/ 8. But let us suppose that this
stop (behind the lens) admits a cylinder
of light of 1 inch diameter, then the true
value of that stop would be f/6.

to something more than an inch on the
outside face of the lens. For it is this
apparent lens-face-value of the stop
that we want to get at. In Fig. 5 the
proportion of the lens-face-value to the
actual size of the coin is about as 4 is to 3.

Fig. 3 will give the drift of the idea
as to how the lens L acts as a condenser
of the parallel beam bounded by ^4^4
and BB, so that it passes through the
stop CO

Now let us return to our homely
experiments. We take an unmounted
biconcave lens and support its edges
on a couple of equal-sized corks about
\\ inches long, and then under the lens
on the table supporting the corks we
place a foot-rule and look straight
down on the arrangement and see some-
thing like Fig. 4.

We at once see that the lens magnifies
the width of the foot-rule and also the
apparent size of an inch. To make
matters clearer I have indicated by
short lines where the inch marks come
along the rules.

We now replace the foot-rule by one
with ivory edge marked in \ inches,
and under the lens we place a halfpenny
and two other halfpennies beyond the
lens for comparison. Remembering that
this coin is just an inch in diameter,
we note that its width agrees with
four of the quarter-inch marks on the
ivory edge. Thus we see that an
inch stop behind the lens is equivalent

Now we find
eye about from
lens so does the

that as we

side to side

margin of the

move the
along the
coin shift

METHODS

about. But to get the true value we
have to view the margins along lines
parallel to the axis of the lens. This is
easily done with the aid of a bit of card
on which we have ruled a number of
fine black ink lines just j{J inch apart.
This card is then bent in such a way
that the bending fold or crease is per-
pendicular to the ruled lines.

In Fig. 6, to the extreme left, I show
such a card ruled and creased so as to
bring the two parts at about a right
angle with each other. In the same
illustration a second similar card is
laid across the hood of a lens whose
stops are to be measured. The crease
should coincide in position with the
diameter of the stops and lens hood.

On looking down along the lines nearly
vertical to the planes of the lens we can
arrange matters so that one line agrees

precisely with one end of the apparent
diameter of the stop and then count
the lines to the opposite margin and
estimate to a half or quarter tenth, if
need be, the width of the stop diameter.

FIG. 7

In the figure the apparent lens face
diameter of the stop is six-tenths of an
inch. Suppose the focal length of the
lens to be 6.8 inches; dividing 6.8 by .6
we get 11.33 or the true // value of the
stop. In reading the width of a stop the
eye must look straight along a line point-
ing to the edge of the stop, or midway
or quarter way, as the case may be.

METHODS

Intensifying Bromide Prints. A
good method of intensifying bromide
prints was recorded some time back in
the circular published by the Manchester
Amateur Photographic Society. It is
well worth repeating in these dull days
of bromide work, for although it rarely
repays one to fiddle with a spoilt small
print, an enlargement is certainly worth
an attempt to save it. Ten grains each
of copper sulphate and potassium bro-
mide are dissolved in each ounce of

water for the bleaching solution, and the
print, after treatment with this bath, is
well washed for five minutes and then
redeveloped. If it be flat from too long
exposure, a mixture of 50 drops of
rodinal in 3 ounces of water is recom-
mended for the redevelopment; while if
it be flat from underdevelopment, 50
drops of a 10 per cent, solution of silver
nitrate in 3 ounces of water is used.
The print is well washed before finally
being dried.

^asS\

NOTES

AND

NEWS

Greeting

We wish all our readers a happier and more
prosperous New Year. Have your studio look
prosperous, think and talk prosperity, and keep
your eyes wide open on what the successful men
are doing, and you will advance.

We desire to make the Journal of still greater
practical value to every reader — to have a maga-
zine every photographer will be proud of.
While it is most gratifying to us to see the in-
creasing recognition and influence the Journal
is gaining, we mean during the coming year
to make a better magazine, and we ask your
cooperation. Let us hear from you if we can
be of any service, and our entire staff of experts
and all our facilities will be at your disposal. We
want the Photographic Journal of America
to be a live, up-to-date, practical medium for
the uplift and benefit of every photographer in
the land.

Mr. Herford T. Cowling Returns from Tour

Mr. Herford T. Cowling, chief photog-
rapher of the U. S. Reclamation Service, Inte-
rior Department, has returned from a photo-
graphic tour of the West, where he was engaged
in making moving pictures during the last six
months. Mr. Cowling traveled about 37,000
miles and exposed over 50,000 feet of motion-
picture film as well as a large number of still-life
pictures.

The films taken were for the most part scenic,
and were made to be used by the U. S. Forest
Service in showing recreational uses of our
national forests and to induce the public to make
greater use of our national forests as public
playgrounds. Mr. Cowling spent a good por-
tion of his time among the more primitive of
our Southwest Indians living at the pueblos and
picturing their domestic life. Films showing
the harvest dances were made at several pueblos,
and in some cases were the first time ever photo-
graphed with a moving-picture camera. The
spectacular sun dance of the Taos Pueblo
Indians on St. Geronimo Feast Day, September
29, was among the latter.

Many hundred feet of film were made descrip-
tive of modern methods of irrigation on the
(26)

U. S. Reclamation Service projects, as well as the
result of irrigation on the arid lands.

To secure some of the most thrilling of these
films Mr. Cowling took many chances and
occupied extremely dangerous positions. In
one case he was lowered by a rope into the
crevice of a mammoth glacier 300 feet deep.
One of the most interesting films will show log-
ging in the giant forests of Oregon and California,
where the huge logs are skidded down the side of
a mountain on chutes into the lakes at an enor-
mous speed, while the most artistic films were
made on the wonderful Columbia Highway of
Oregon and at Lake Chelan in the heart of the
Cascade Mountains, the most beautiful lake in
this country.

These films will be used by Mr. C. J. Blanch-
ard, statistician of the Interior Department, in
his annual lectures throughout the East.

Photographer Cowling has made five such
trips for the Department, securing educational
films which are circulated through the schools
and universities of the country by the Recla-
mation Service. Some of these films will be
exhibited by Mr. Cowling this winter before the
Federal Photographic Society, of which he is the
president, when he will address the Society on
the cinematographic art.

Mr. Cowling is now in the Washington Labora-
tory assembling these subjects.

A Correction

An inaccuracy occurred in the specifications
of the Ansco V-P No. 0 in Ansco Company's
advertisement of this model in the December
number. This camera is furnished with Actus
shutter and Modico Anastigmat lens, F/7.5, at
$15, and with Extraspeed Bionic shutter and
Ansco Anastigmat lens, F/6.3, at $25.

Annual Exhibition of the Union Camera Club

The Annual Exhibition of the B. Y. M. C.
Union Camera Club, 48 Boylston Street, Boston,
opened Wednesday evening, December 6, to the
public and continued through Thursday and
Friday evenings, December 7 and 8, from 6 to
9.30 o'clock, and Saturday, December 9, from
2 to 9 o'clock.

NOTES AND NEWS

The collection of photographs was well worth
a visit, and the prizes in many cases were taken
by some of the newer members.

The awards:

Landscape: First prize, Arthur Hammond;
second prize, T. Willis Cary.

Portrait: First prize, Arthur Hammond;
second prize, Louis Astrella.

Marine: First prize, F. W. Hill; second prize,
C. E. Dodge.

Genre: First prize, Chester Grille; second
prize, Louis Astrella.

General: First prize, G. H. Seelig; second
prize, Charles C. Wells.

The judges were: Frederick W. Horsman,
Frederick W. Allen, and Florence Maynard.

The B. Y. M. C. Union Camera Club was
organized in 1908 and has a membership of 75,
mostly amateur photographers. The club quar-
ters are well equipped with dark-rooms for
developing, opportunities for printing, enlarging,
and indoor photography. A social room and
locker accommodation for members are also
provided. _____

C. P. Goerz American Optical Company
Increases Wages

The C. P. Goerz American Optical Company
has just announced to their office and factory
staff a general increase in salaries and wages
to' take effect about December 15, 1916.

The reason given is the ever-increasing cost
of living which the management feels should be
compensated for as far as the rather adverse
conditions under which the Goerz Company
has to work on account of the war abroad will
allow by a suitable increase in the earnings of
their loyal employees. The proposed increase
will add more than 10 per cent, to the present
pay-roll of the Company.

The Sury Powder Process : A Pigmenting Process

Suitable for Either Monochrome or

Color Effects

The paper is sensitized with ammonium
bichromate and alcohol, 90°, or methylated
spirit, two parts of the latter to three parts of
the stock solution of the former. A 3 per cent,
solution of ammonium bichromate strengthens
the contrasts; a 4 or 5 per cent, is the normal
solution, and a 6 or 8 per cent, diminishes the
contrasts; 8 per cent, is the maximum to be used,
and only when the negatives are over dense
and the temperature of the room is under 55° F.
The bath should be made at the moment it is
needed, as it will not keep. A quarter of an ounce
is sufficient for half-plate size. The edges of
the paper are turned up by about a quarter of
an inch on the four sides so as to form a sort
of dish, and into this is poured the sensitizing
solution. The paper is held by the two opposite
corners, and the solution kept moving over it
gently for two minutes, so that the whole surface
is thoroughly moistened. The remaining liquid
is then poured back into the glass and the paper
hung up to dry. The process of drying takes
place in a dark or almost dark room, and should
not exceed one hour. If necessary, some slight
artificial heat or ventilation may be made use of.

Artificial light has no influence on the sensitized
paper, except the electric arc or the mercury
vapor lamp, by either of which exposures can
be quickly made. When dry the paper is very
sensitive to daylight, and care must be exercised
in handling it.

For printing, a special screen is placed between
the negative and the paper. This screen gives
both softness and transparency to the proofs.
If the negative possesses few contrasts, its use
can be dispensed with. A thin negative is most
suitable. It is advisable to use a frame provided
with strong springs. The deep shadows of the
picture are sometimes slightly visible when the
printing is finished, but it is safer to use an
actinometer to ensure correct exposure.

Development should be carried out within
two or three hours of exposure. The print is
placed face downward in a dish of cold water for
a quarter of an hour, changing the wrater five or
six times. Then it is removed to warm water of
96° to 98° F. for two minutes, the dish being
rocked now and again to ensure equal action.
Mr. Sury's latest experiments show that two
minutes at 96° to 98°, or one minute at 98° to
100° F., will be correct. The print is removed
to a sheet of glass or a board and the surface
gently wiped wdth a flat camel-hair brush
saturated with warm water of about 95°. The
brush should be kept fully charged with water.
The print should be wiped alternately from top to
bottom,, from the left to the right, and also
diagonally, the brush being held at an angle of
about 50 degrees with the surface of the paper.
The image will gradually appear, and develop-
ment should be completed in about two to five
minutes.

Sury papers are at present manufactured in
two colors, namely, blue, suitable for all ordinary
work, and bistre, which is particularly recom-
mended for portrait work. The pigment used
for the preparation of the bistre paper is a per-
manent one, but the blue color must be dis-
charged either partially or completely by placing
in 2 parts of hydrochloric acid to the 100 of
water. The desired depth being obtained, the
prints should be rinsed in cold water and hung
up to dry.

For pigmenting, the dry print is pinned on to
a board and the dry Sury pigment lightly applied
wdth a camel-hair brush. It is then found that
the print possesses the property of taking the
pigment in direct proportion to the values of
the shadows and halftones. This pigmenting
can be done in a straightforward manner or the
worker can modify the reproductions in accord-
ance with his artistic tastes and ideas. To judge
the progress of pigmenting, lightly blow the
superfluous color from the print, and, in case it
is desired to lighten any portion, apply a little
powdered pumice with one of the brushes. High
lights may be put in by touching with a piece of
eraser sharpened to a point. The eraser must
be kept clean by rubbing it on a piece of coarse
sandpaper. Should it be desired to tint the white
parts, a little of the polish can be taken off them
by rubbing with pumice powder. By this
rubbing the whole surface of the proof before
powdering, the effects obtained are particularly
soft and recommended to artists. Pigmenting

NOTES AND NEWS

may be carried out in monochrome or colors —
a full range of pigments being supplied for the
purpose. Fixing is not absolutely essential
but is recommended. The print, still attached
to its board, is placed upright and sprayed with a
special fixative, using the evaporizer about
18 to 24 inches from the print. — The Photo-
graphic Journal.

"What Lens Shall I Buy?"

The booklet What Lens Shall I Buy, published
by the Bausch & Lomb Optical Company,
Rochester, N. Y., answers a question which is
in the minds of many photographers. If you
would like to know the best lens to use lor
various kinds of subjects you simply look in

;| '/

•
j

What Lens

r ■

Shall I ^.^ |j |

to ^) i

if -

1 ;

:• I

s. .

^ »„- " '-~JJ

the alphabetical list of subjects for the required
information. The booklet also contains a table
showing lenses recommended for various popular
cameras. This information is of value to a
prospective purchaser, and a copy of the booklet
should be in the hands of every photographer.
Address Bausch & Lomb Optical Company, 633
St. Paul Street, Rochester, N. Y.

A New Size of Camera

The 8 x 10 size of plate or picture has the
same proportion as the 4 x 5, a proportion that
is being supplanted in favor by the postcard
size in the latter case, and in the former will no
doubt find a strong competitor in the new 7x11
size issued by the Eastman Kodak Company.
This is perhaps the most pleasing proportion
that could be given the view photographer,
as it is a little shorter form of the parallelogram
than the popular postcard size and a little longer
than the 5 x 7; it is, in fact, practically midway
between the two. For group work the new size
is just right, while for view and landscape work
the unnecessary sky space that is nearly always
in evidence in the 8 x 10 print is transferred to

the ends, where more room is generally wanted.
Best of all, the new form is much better suited
to upright subjects, such as tall buildings and
the like. In addition, the picture looks larger
and the particular proportion will almost
invariably show either much more of the subject
matter, or larger images of the objects photo-
graphed, than will the 8 x 10 size.

The American Annual of Photography, 1917

This popular annual has come to hand and is
full of practical articles for every camera user.
There are papers in "Mastering the Anastigmat
Lens," "Night Photography," "The Photo-
graphic Portraiture of Men," "A Convenient
Dark-room," "Color Toning Bromides," "Gallery
Lighting," and a number of other practical
subjects full of meaty suggestions. The many
illustrations also are of a wide range and high
standard and add to the value of the text.
Price, paper, $1.00; Cloth, $1.50. Copies can
be supplied through this office.

30 x 40 inch Trays for the Dark-room

We have long wanted a couple of 30 x 40 trays
for the dark-room, but have hesitated in getting
them, as the trays commonly for sale are too
bulky to handle nicely, and we have been
trying to scheme some way to make them light
and serviceable, as I now have them. I have
succeeded in getting the weight down to about
10 pounds which makes a tray that is easily
handled, and I thought perhaps you would like to
know how we made them.

In the first place I had two wooden trays
made up of just as thin material as seemed
possible, which was \ inch spruce sides and \ inch
elm bottom, with four ribs running lengthwise
of the bottom. The corners were all dovetailed
and made as tight and strong as possible; then
they were given two coats of P. & B. acid- and
alkali-proof paint, and while the paint was still
tacky we lined it with some thin asphaltum
roofing-paper, folding in the ends a good deal
like we used to line trays with oilcloth for
toning baths, with the edges turned over the top
edges of the tray and tacked down with copper
tacks. Then the paper was pressed down with
a hot flatiron, which pressed it firmly into place
and cemented it like a rock. The paper lining
was given two coats of the same paint.

These trays are extremely light, fiat, and as
strong and rigid as if they were made of heavy
material, and look as if they would last for a
hundred years. — Phil B. Keeler in Portrait.

Market for Prints

"The Independent," 119 West 40th Street,
New York, N. Y., is now using striking land-
scape photographs and other views suitable
for its covers. News photographs, pictures of
scientific and civic innovations, etc., also are
desired. Prints 5x7 inches, or larger, are
preferred.

Trimming Device

Something that might be of interest is a
unique trimming arrangement which will save

NOTES AND NEWS

at least a third of a person's time in trimming
prints with a white border.

Any kind of a box is used and one end taken
out, then a sheet of glass is placed diagonally
inside to allow trimmings to slide out into the
waste-basket, as shown in (.4) the accompany-

ing rough sketch. Then an ordinary electric
wall socket is placed on the bottom of the box
so the light will be directly under the cutting
edge of the trimmer and is attached by an ordi-
nary extension cord so the apparatus can be put
out of the way when not in use — and can be
set on a chair or wherever convenient to use.
The light shines through the paper and the
exact width of the margin can be seen in an
instant. It will save the operator much time
over any other method of getting even margins.
— Portrait.

Dianol Developer

A new developer which needs only the addi-
tion of sulphite and water, and can be used for
plates, films, or papers. It bears the additional
recommendation of being sold by R. J. Fitz-
simons, 75 Fifth Ave., New York City, who is
widely known as the American agent for Lumiere
plates and autochromes, and the Richard vera-
scopes. Readers who want further information
are referred to Mr. Fitzsimons, who will gladly
take the matter up with them.

Mrs. Henrietta Hudson's Advent in Direct
Color Photography

Mrs. Henrietta Hudson is a new name
added to the list of those who are accomplishing
great things with the camera. Her recent debut
in New York was as sudden as it was successful.
Before October last no one had ever heard of
her; during November many were curious to
know who she was and where she came from;
before the end of the month she was elected a
member of the American Institute of Graphic
Arts of New York and almost simultaneously a
member of the Royal Photographic Society of
London. So, like the announcement of the
daguerreotype, she "arrived" at once.

It was the exhibition of photography under
the auspices of the American Institute of
Graphic Arts that put Mrs. Hudson in the
photographic "Who's Who." This exhibition
proved to be one of the most comprehensive
ever held, direct color photography being shown
at its best. When early in October the doors
of the exhibition were opened to the public it
was found that among the photographs in color
the one that attracted most attention was that of
a fragile soap bubble in all its iridescent beauty,
and it bore the label: "Henrietta Hudson."
Here was an unknown who had accomplished a
new feat in direct color photography with an
autochrome plate. Interest was thus drawn to
her other exhibits and they demonstrated that
she was an artist with exceptional color sense.

Mrs. Hudson was then chosen a member of
the American Institute of Graphic Arts and
invited to address them. This she did at their
first meeting in December. In a modest way she
told them how she took up photography as an
amateur only two years ago, and began at once
with autochromes, though entirely ignorant of
photographic procedure. Her description of the
development of the first autochrome in com-
plete darkness in the cellar of her country home,
and how she screamed with delight when she
found she had recorded color, was an intensely
dramatic recital which, unfortunately, lack of
space prevents describing here.

She told how she began then the study of
photography and its chemistry seriously. Those
whom she consulted in the matter tried in every
way to dissuade her from wasting effort on color
photography. It was impractical from every
view-point; only a few colors could be recorded;
it could not be used for lantern slides, and only
those with unlimited means could stand the
expense of experimenting with it. Mrs. Hudson
proved to be a woman of resolute purpose; she
had faith in the plates and confidence in herself;
she experimented and experimented; she showed
that the color scale was equal to that of a
painter's palette and that it was admirably
adapted for lantern slides.

When Burton Holmes projected her slides for
the first time, during one of his lectures, the
audience showed by their applause how they
appreciated her accomplishment, and Mr.
Holmes had to admit that his opinion, that auto-
chromes were impossible for lantern-slide pur-
poses, had been reversed. The marvel of it all
is that Mrs. Hudson has taken up direct color
photography at a time of life when other women
are seeking leisure and contrary to all predictions
she is making a success of it. Further, she does
all the work herself and in the confines of her
apartment on Riverside Drive, New York.
Being a woman of determination and ceaseless
energy, combined with an early art training
and cultivated taste, she promises to be a most
valuable addition to the ranks of workers in
direct color photography. — Stephen H. Horgan.

Professional Photographers' Society of New York

Active preparations are being made for the
coming Thirtieth Annual Convention of the
Professional Photographers' Society of New
York, to be held February 26, 27 and 28, 1917,
at Hotel McAlpin, New York City. Note this.

THE WORKROOM

By tSe JdeaTT Operator

Repairing Foregrounds

A Focussing Screen

Dodges of an Old Stager

Identifying Prints and Toning Processes

Securing Registration In Double Printing

The Paramidophenol Developer

Copying

Steaming Bromide Prints

An Effective Substitute for Farmer's Reducer

Postcard Printing and Developing

A Pliable Background

A Cheap Lantern Screen

Glass-stoppered Bottles — A Useful Tip

Altering Density and Tones in Bromide Prints

Snow Photography

A Bromoil Transfer Process of Three-color

Printing
Know Your Fixing Bath
Three Types of Lenses

The Sharpness of Negatives for Enlarging
Some Useful Varnishes
Toning Bromide Prints Blue

To Render Plated Camera Fittings Tarnish-proof
Waterproof Cement for Glass
A Quick Way of Washing Small Roll-film

Negatives
Clean Dishes
Eyes
Waste
Magnifiers

Repairing Foregrounds

A tremendous amount of time and labor is
often wasted by assistants having to spot out
ugly patches and creases in the foregrounds of
prints where a badly worn background has been
used. A few creases made by careless rolling
up is often the cause of a serious falling away
of the whole of the foreground. Of course, it
always gets a tremendous amount of wear by
reason of the continuous trampling which it
receives, and as soon as it shows light streaks
and patches the time is not far distant when the
whole coating of pigment will fall away, leaving
the canvas to wear into holes. But at this stage
it should not be left and considered to be "going
home," as an effective repair is by no means a
difficult operation, even to the renewal of the
whole of the foreground. A description of the
method of procedure for repairing the whole will
cover the same ground as for repairing in parts.

Take the background off the stretcher, and,
after transferring the bottom roller to the top,
roll the background up, leaving out flat on the
floor, face down, the part to be repaired. When
the extent of the renewal has been decided upon
the foreground is tacked down to the floor,
putting in the tacks in a straight line.

While the canvas is kept taut another row of
tacks is placed about 18 inches below the first row.
The canvas between the two rows of tacks
should not be stretched out of its ordinary
dimensions, or kinks will be formed when the
tacks are taken out and the foreground again
falls into its original position.

The required amount of unbleached calico
of the right dimensions (obtained at any large
drapery house in the standard sizes) is now
attached to the old material by means of rubber
solution. This first sticking is done with solu-
tion, because it dries quickly and also because
the foreground underneath is not damped in any
wav, thereby preventing any cockles or kinks
(30) "

when the background is newly hung, and the
draw is exercised by the weight of the new canvas.
A line of about 2 or 3 inches in depth of solution
should be smeared close up to the first row of
tacks, also a similar line on the edge of the new
canvas, and the two should not be placed together
until they are quite "tacky."

A, back foreground; B, glue; C, new canvas;
D, first row of tacks; E, second row of tacks.

This first bringing together of the new and
old materials is the most important part of the
whole proceeding. Assistance should be at hand
to hold the new canvas squarely over the old,
or the two may not eventually hang squarely
unless properly brought together in the first
place. The remainder of the sticking down is
done with glue (about the consistency of cream)
laid on the back of the foreground lying on the
floor, and applied with a fairly large brush, not
attempting to cover more than the space which
is stretched between the two rows of tacks.

It is wise at this stage to get assistance in
holding the new canvas out tight while the two
are being brought together flatly by pressing and
by patting with the palms of the hands, and
seeing that they come together smoothly without
any creases or air blobs, which is quite an easy

THE WORKROOM

matter if some one holds out the new canvas
tightly at each end.

As soon as this first portion has been glued
together the row of tacks at B should be taken out
and put in again, this time tacking the two
materials together. Another strip is stretched,
tacked down, and glued, repeating the process
until the whole of the new canvas is attached to
the old.

If the foreground is being repaired only in
parts it is preferable to use rubber solution, doing
each part separately.

If possible, the whole should now be left in
its flat position until dry, but if it must be moved
it is best to wait until some of the moisture has
evaporated and the ground then tightly rolled
up with newspaper over the painted surface, to
prevent any possible injury from the damp glue.
It is then left for a day or so to dry. If there
happens to be any creases or wrinkles when dry
they can easily be removed from the face with
a hot iron.

The foreground may now want repainting
completely, or it may only want touching where
it has worn. The repairs that have been
described would remedy any creases or cracks
and give extra support to any weak and worn
parts; but it often happens that when a back-
ground has reached the cracking stage the dis-
temper generally peels off, leaving nasty patches.
These may be patched up or the whole fore-
ground may be repainted, which need not be a
very skilful performance, as foregrounds, whether
indoor or outdoor, are generally plain. The only
skill required is the matching of the old color,
and even this is not absolutely necessary; as
long as the right tone is reached it will probably
photograph the same in tone if not actually the
same in tint. If the whole is to be repainted it
would be best to stretch the part to be done on
the background stretcher.

There are many different compositions with
which to repaint, but none better and cheaper
can be used than ordinary distemper well sized.
The ordinary whitewash so often recommended
is wretched stuff to handle, and it is difficult to
gauge the necessary amount of size needed.
An already sized distemper recommended is
"Filocol," 1 lb. of which will cover about six
or eight square feet: all that is needed to bring
it to a proper consistency is a little water. It
should not be made too thin or it may stir up
too much of the old underlying color. It is
perhaps too white for a light background, so a
little vegetable black should be added to bring
to a cool gray. Before applying to the back-
ground a trial should be made on a piece of card,
dried to see that it matches fairly the old tone,
and rubbed with the palm of the hand to see that
it sets; if not, put in more size (Cannon's con-
centrated size), which has been first dissolved
in hot water.

For a dark background the color should be
composed of vegetable or lamp back rubbed
together with a little burnt umber or burnt
sienna, according to the old color, on a piece of
glass with a table knife, adding the size gradually.

A mixture of white and black, considerably
more black than white, sufficient in tone and
quantity, should be made in a pail or pot and

"laid on" the background as flat as possible with
a whitewash brush. If the background is not a
plain one another lighter tone should be mixed
and introduced here and there into the darker one,
using the brush in downward dabs, with broad
horizontal sweeps here and there to give variety
and a feeling, when lying in its original position
on the floor, of even ground. But this variety
should be hardly preceptible, remembering the
important fact that the color dries up consider-
ably lighter. — British Journal of Photography.

A Focussing Screen

Color in the object is, I find (writes Arthur
Wall, in Photography and Focus), apt to be very
misleading, and anything which helps to get rid
of it, so that we can see the picture very much
as it will appear in the finished print, is helpful.
One of the best ways of doing this that I know
is to use a ground glass focussing screen of blue
tint. I suppose blue glass could be bought and
given a ground surface; but a simpler method
of bringing about the same result is to use a
film of dyed gelatin. An unexposed plate is
fixed right out and washed, or else an old nega-
tive has its picture bleached out in the ferri-
cyanide and hypo reducer. The clear film of
gelatin so obtained should be stained an intense
blue with the aid of a penny packet of dye, and
then after a brief washing, which will reduce the
depth of the color a little, the plate is dried and
is bound up with its dye film in contact with the
smooth side of the ground glass. For landscape
and flower work especially I find this most
useful.

Dodges of an Old Stager

Here are a few inventions and dodges,
mothered by necessity, which may be of use
to my brother photographers.

For Use in Photographing in Towns

Everyone who can discards the tripod in
photography in towns — the time taken in its
erection, the notice it attracts in a street, and the
obstruction it causes being sufficient for its con-
demnation. It is astonishing how soon one be-
comes used to dispensing with it, until perhaps
the only disadvantage left is the difficulty of keep-
ing the camera square and the consequential
"drunken" architecture which results. Now, to
cope with this the ordinary spirit level is useless.
To get the additional height required in working
in narrow streets it is necessary to hold the
camera as high as possible. In this position
nothing less than an enormous level on the base
of the camera would be workable, and even then
it would be a weighty nuisance. The following
simple and economical home-made substitute will
be found entirely effective. A slight variation is
necessary, according as the camera happens to
be a square-backed one or of the rounded folding
pocket type.

Let us take the square-backed camera first.
Open ready for an exposure. The back will then
consist of a changing-box or dark slide. Draw
a straight line with a sharp bradawl down the
centre of the back, from top to bottom. Rub

THE WORKROOM

Fid 2. THE

Silk is indicated
61 dotted line

Chinese white into this, or paint it in with a
fine brush. This line forms a guide. Take a
piece of thin sheet brass, just thick enough to
be stiff, size \ inch by | inch. File a notch in
the centre of one of the short edges. Bore three
small holes, large enough to take a pin, as indi-
cated in Fig. 1. The idea is to pin the brass
on to the top of the back of the camera (or
whatever forms the back when it is ready for
action), so that a plumb-line attached to the
middle pin and hung through the notch just
touches the white line all along its length. The
plumb-line is made of silk; the weight is a small
ball of lead paper. Fig. 1 shows the line fixed
ready for action. When the camera is held up,
the slightest deviation forward, backward, or
sideways is reflected in the movements of the
plumb-line. It requires but a slight alteration
in the shape of the piece of brass to suit every
form of camera-back. If the silk be looped over
the pin instead of tied to it, the line can be
removed and stowed away when not in use.

Where the camera is of the rounded folding-
pocket type, the plumb-line is fixed to the
catch which most of these cameras possess, and
which is used for opening the back. The piece
of brass is now bent at a right angle at one-third
of its length. The longer end is passed through
the catch, which may be wedged up with a
screwdriver for that purpose. A hole must be
drilled near the edge of the shorter end, through
which the silk is passed and secured with a knot.
The nearness of the hole to the edge of the brass
depends on the position of the catch itself. It
must be so placed that the plumb-line just clears
the back of the camera (see Fig. 2). When the
camera is being carried about, the brass arm is
pulled out of the catch and the silk is wound
around it.

Developing Cartridge Films

Xon-curling films are recognizable by their
ability to curl at all available opportunities, at
least until they are in the hypo. This tendency
makes their development in an ordinary china
or celluloid dish very awkward unless they be
developed in the strip. Many photographers,
however, are still strongly in favor of a method
of development which enables each separate
picture to be under complete control. This can
be managed if a wooden dish be used. It should
be sufficiently large to take two strips of two
negatives, side by side. To keep these short
strips flat, each is pinned by the four corners to
the bottom of the dish. Don't use the glass-
headed pins. When wet they are most difficult
to handle, and scratched films result. The flat,

plaster-headed pins are the most convenient.
Have a dozen of these pins, and run them into
the top edge of the dish, so that they are avail-
able. While the pinning down of the films is
being done the dish should be half full of water,
and this should be poured off and the developer
substituted when the pinning is completed.

When a negative shows signs of being suffi-
ciently developed, cut it off, removing two of the
pins so as to release it. The spare end of the
film from which it is separated should be then
pinned down. Small narrow strips of lead are
useful for keeping the ends of a curly bit of film
flat in the hypo. For drying the negatives,
stretch a piece of cord along the edge of a shelf;
support it with a nail every yard or so. Hang
the negatives from this with hooks made of bent
pins at regular spaces.

Developing Cut Films

Here, again, some of us prefer to have each
film under individual attention. Select four
dishes which will so fit one into the other that
the bottom of one is always at least one-eighth
of an inch from the bottom of the one below it.
The lighter the dishes the better. Each dish
has its supply of developer and contains one
negative. They are then fitted one into the
other, making a solid whole which can be easily
rocked. From time to time the dishes should
be taken apart, so that the negatives can be
examined. If required, a cover can be made to
make the top dish light-tight. The negatives
in the other three dishes are practically, if not
entirely, in darkness, except when under exami-
nation.

For washing cut films the ordinary rack in a
washing trough is useless, as the films are not
stiff enough to keep apart. The best form of
washer to use is a print washer which has a
circulating system, having for that purpose a row
of holes along the top edge to let the water out.
Bend a piece of stoutish galvanized wire as in
Fig. 3. From A to B should be a shade less
than the width of interior of the washer at the
top. The length from C to D should be about
f inch longer. The "kink" should only be
about \ inch deep. Pass this wire rod through
the centre hole at the top of one side of the
washer right through, and then through the
corresponding hole on the other side, so that it
stretches right across (see Fig. 4). To attach
the films to this rod, hooks are necessary. To
make these bend pins into a Z-shape, with
rounded instead of sharp angles. The arms
should be longer, in each case, than the middle
piece of the Z. Take one of these bent pins, hold

THE WORKROOM

one of its arms between finger and thumb of one
hand, and the other arm similarly with the other
hand, and twist one arm at right angles to the
other. You now have a Z of which one of the
arms is at right angle to its fellow. Put the point
of the pin through the corner of the negative,
hang the other arm over the bar, and there you
have your film suspended from the bar. Fill
the washer with water, and you then note the
meaning of the kink, for, were it not for it, the
top corner of the film would be just above the
water line. You can hang a couple of dozen or
more negatives from such a bar, and they don't
scratch each other, and, being well above the
bottom of the washer, the}* get a thorough wash-
ing. For drying the cut films, lift them one by
one off the bar without unhooking them from
the pins, and suspend them by the pins from a
cord stretched along the edge of a shelf or across
the room.

Packing Exposed Films and Plates

Xo tourist should travel without half a dozen
stout, light-tight bags, to hold either his exposed
cut films without any other packing, or to con-
tain his exposed plates in their original box
without any other covering. The relief of being
able to slip plates or films into security without
having to unfold and untie wrappings is very
great. The bags should be made of two thick-
nesses of tough brown paper, the kind that will
not crack when it has been doubled backward and
forward a dozen or so times. To hold half plates
the bag should be large enough to take a half

FifrS

plate box comfortably in width, and should be
6 to 8 inches longer. Where the paper is folded
should be the mouth of the bag. Use plenty of
paper, and fold as in Fig. 5, fastening with glue.
To make the bottom of the bag secure, glue
each thickness of the paper to its fellow to a
depth of about 1 inch. The end can then either
be turned up or not. When films or plates have
been placed in the bag, double over — two or
three times — the spare length of the bag, thus
making the mouth of the bag light-tight. A
rubber band will keep the whole closed. —
Amateur Photographer.

Identifying Prints and Toning Processes

A point of some considerable importance,
particularly to portrait photographers, is the
ability to tell what printing or toning process
has been used for the production of a particular
effect. That such is the case is evident from

the queries addressed from time to time to the
editors asking what paper or method can be
used in order to produce prints in imitation
of a specimen, which, presumably, is the work of
a competitor. Anyone fairly conversant with
photographic printing processes is, of course,
able to tell roughly what method has been used
in the making of a given print. We all know
the distinguishing marks of a carbon, a platinum,
a bromide, or a P. O. P. print, yet in these days
of intense competition between manufacturers
there is so much ingenuity applied to the pro-
duction of papers which imitate the results by
other processes that I think many of us would
be stumped if asked to swear positively that a
print of unknown origin was by such-and-such
a process. In saying this, I mean to suggest
that it is a very difficult matter oftentimes to
identify the printing process only by the appear-
ance of the print. The reader has only to glance
through the price lists of photographic printing
papers in order to see the efforts which are made
to produce prints on development papers which
shall rival in their quality those by the carbon,
platinum, or collodio-chloride process. Many
of these papers do, indeed, afford a very close
match with the prints by the processes which
they impersonate, and if one relies only on the
appearance of the prints, it would not be possible
always to say with certainty what particular
method has been used. But however much the
final results may resemble each other, the
chemical processes are in most cases essentially
different. The image of which the photographic
picture consists is of a different chemical compo-
sition, and it does not call for very much skill to
apply chemical tests which will distinguish fairly
sharply between the different processes.

Platinum and Bromide

One of the simplest applications of this
chemical method is in telling a bromide print
from one on platinum paper. The bromide
image consists of silver, like that of a negative,
and the application of any bleaching solution
such as is used for the intensification of the
negative will turn the bromide print white, or
to a pale color, while it is without effect upon a
platinum print. Solution of bichloride of mer-
cury- is as good as anything else for this purpose,
and is usually at hand in the photographer's
dark-room. There is no need, of course, to
treat the whole print: a tiny spot of the mercury
solution may be applied with a fine camel-hair
brush, and will show by its non-action, or by
the production of a white spot, whether the
print is platinum or bromide. In the cases of
the ordinary platinum papers (not those of the
semi-glossy kind) the surface of the paper
itself is some indication, though not an infallible
one, owing to the success with which the natural
surface of platinum paper is imitated in many
brands of bromide. Often, also, in these descrip-
tions of bromide paper, it is not the easiest matter
to recognize the gelatin surface of the emulsion
by the familiar plan of wetting a corner of the
print, applying the finger, and noting whether
the gelatin surface sticks to it. This test is
rendered somewhat obscure, not onlv by the

THE WORKROOM

grained surface of the bromide paper, but by
the fact of its bearing an emulsion which has
been specially hardened. A less indefinite test
is to wet a corner of the print thoroughly with
a little weak acid solution such as is used for
clearing platinum prints, and then to rub it
lightly with a fragment of rag stretched over
the finger. The image on an ordinary platinum
print is often partially rubbed away by this
treatment, whereas it takes a good deal of rub-
bing to make any difference to the silver deposit
on a bromide print. As I say, it is by no means
a clear sort of test, but, nevertheless, supplies
some indication of the nature of the print.

Sepia Platinum and Sepia Bromide

When it comes to distinguishing between a
print on sepia-platinum paper and one on
bromide paper which has been sulphide toned,
the characteristic color of the sepia-platinum
print is a fairly safe guide — at any rate, so far
as platinotype septia paper is concerned. The
color of such a print is remarkably uniform,
whereas results by sulphide toning vary very
considerably as regards color. A chemical test
can also be applied, although not so rapidly or
with such unmistakable results as in distinguish-
ing between a bromide and a black platinum.
A sulphide-toned print is slowly bleached, to a
greater or less degree (but never completely), in
a solution made by dissolving about £ ounce
copper bromide and about 2 ounces of sodium
bromide in 10 ounces of water. The sepia plati-
num print will not be in the least affected by a
solution of this kind, nor, in fact, by any solu-
tion, such as potassium cyanide, which exerts a
reducing action upon other prints.

Print-out Prints and Toned Bromides

But perhaps the most frequent cases in which
doubt arises are those where it is wished to
discover whether a print is a toned bromide or is
produced upon a print-out paper. In the case
of ordinary P. O. P., toned with gold, there is
never likely to be any doubt. The purplish
tone is characteristic. In the case of collodio-
chloride paper, the range of tones from warm
black to red chalk is much wider, but here the
collodion surface is readily distinguished from
one of gelatin by touch when in the moist state
or by noticing the way in which the print curls
when immersed in water. In cases where a
warm-toned print is suspected to be on a self-
toning paper, it is most likely that the surface
is also one of collodion, collodion self-toning
papers being largely in the majority as compared
with gelatin.

These differences afford a useful indication
of the particular paper. They can, however, be
supplemented by a chemical test which, while
not completely satisfactory, is of some service
in diagnosing a case. Practically any print on a
print-out paper, whether self-toning or collodio-
chloride, is reduced in depth to some extent by
a solution containing both ammonium sulpho-
cyanide and potassium ferricyanide. This mix-
ture, Haddon's reducer, exerts a steady reducing
action on a printed-out image, even when it has
been toned with gold, and, to some extent, when

toned with platinum. Whether the action is
exerted on the gold (or platinum) component of
the image I am not competent to say. I should
imagine it is not; but, at any rate, there is always
a proportion of the image formed by warm-
colored silver compounds, upon which latter, I
believe, the reducer principally acts. If any-
thing in the nature of a formula is wanted, it
may be given as follows: 10 per cent, ammonium
sulphocyanide solution, 5 ounces; 10 per cent,
potass, ferricyanide solution, \ ounce; water,
10 ounces. A sepia-toned bromide, by which I
mean a bromide or gaslight print toned by the
sulphide process, will not be affected by this
solution.

Other Toning Processes

Of other methods of toning which are in use, it
is not possible to speak with the same degree
of definiteness. I know of no test which can
be used to identify prints produced by first
toning with sulphide and then with a gold-ton-
ing bath. However, the characteristic crimson
shade of prints made in this way is a fairly safe
guide. Prints which have been toned with
uranium can, of course, be identified at once by
applying a drop of ammonia or soda carbonate
solution, which instantly turns the warm uranium
tone to black. In the case of prints which have
been copper-toned, I am again uncertain of any
reasonably reliable means of identification.
Without having tried it, I may, perhaps, pass
on the recommendation to paint a small patch
on the print with a solution consisting of about
5 per cent, hydrochloric acid, in which has
been dissolved a little perchloride of iron. This
mixture is stated to yield a blue color upon a
print which has been toned in the copper ferri-
cyanide bath. — British Journal of Photography.

Securing Registration in Double Printing

So much importance is attached, and rightly
attached, to the prevention of any movement
between the paper and the negative in the print-
ing frame when opening the frame to see how
the printing is progressing, that it will no doubt
come as a surprise to many to learn that by a
very simple device it is possible to take the nega-
tive right off the paper and put it back again
without the slightest fear of imperfect registra-
tion. Yet such is the case; and those who have
occasion to use negatives of comparatively
large size, such as whole-plate or over, may find
it to their advantage to make use of such an
appliance.

It can be made to serve several purposes.
When a negative has to be printed with great
nicety it is a help sometimes to be able to see
the whole of the picture at once instead of only
the half which the ordinary form of printing
frame permits. With printing-out processes,
and, to some extent, with platinum, the effect
of different shading devices for modifying the
print can be seen, and so continued further or
discontinued as necessity may require. When
introducing diffusion by interposing bolting
silk, matt celluloid, etc., it is helpful to be able
to print the picture partly with, and partly
without, such aids, and this with the ordinary
form of printing frame is out of the question.

THE WORKROOM

Working whole-plate size and printing in
platinum the following method has been found
very simple and quite successful. \o regular
printing frame is required at all. The "frame"
consists of a small drawing-board, about 12 x 9
inches, selected because its framed construction
was a guarantee against warping. It was covered
with a piece of sheet rubber 9x7 inches,
cemented down; but this the writer is inclined to
think is not at alf a necessity. On top of this
is a piece of thin clear celluloid, which is 10 x 8
inches, as it happened to be in stock. One end
of it is fastened to the face of the board, beyond
the rubber, with drawing pins. Three fine
needles are inserted through the rubber into the
board, their tops being broken off, so that they
project not more than an eighth of an inch, and
small holes are cut in the celluloid so that it
passed freely over the projecting needles. A
piece of thick plate glass, 9x7 inches, completes
the apparatus.

The needles are inserted in such a position that
when a whole-plate lies centrally on the rubber
two of them touch one of its long edges at about
an inch from each end, while the third needle
touches the centre of one of its shorter edges.
It is obvious that a negative in such a position
can be removed and replaced just as often as may
be required, with the certainty that if it is pushed
up against the three needles it will go into exactly
the same place again.

In the diagram, commencing with the lowest
element, is shown the drawing-board; next
comes the sheet rubber, which is optional and
therefore indicated with a dotted line; then the
celluloid fastened with drawing pins marked Pl-
under this the paper is placed for printing; upon
the celluloid lies the negative, drawn with a thick
line; and upon this (not shown) is the sheet of
plate glass. The position of the three needles
is shown by the dots lettered N.

To use the frame the celluloid is raised, a
piece of platinum paper is put down on the rubber
with its edges against the needles, the celluloid
is brought down again, and its free end is fastened
to the drawing-board with drawing-pins, or
preferably, a bull-dog clip, so that it holds the
paper flat and in place. The negative is laid on
the celluloid and pushed up to the needles as
described. For convenience they should project
so far as still to be slightly above the level of the
negative, but not above the level of a piece of

plain glass which is laid on the negative. On
top of all is put the plate glass, and the whole
is put out to print.

If we wish to introduce matt celluloid, bolting
silk, or ground-glass at any subsequent stage in
the printing all we have to do is to lift off the
glasses and the negative, put in whatever diffus-
ing material we are going to employ, and then
replace them. The paper does not shift, being
underneath the transparent celluloid, which is
not thick enough to have any injurious effect
upon the definition. It is advisable to carry
the whole arrangement indoors to observe the
progress of printing. — Photography.

The Paramidophenol Developer

Although the paramidophenol developer is
perhaps as largely used as any other it is but
little known under this name, and the properties
of the developing substance itself are likewise
as little familiar to the photographer The use
of the substances as a developer originated with
Andresen about the year 1888, since which time
the developer has attained wide popularity in
its commercial forms of a highly concentrated
single solution, suitable for both plates and
papers, and requiring only to be diluted for use.
Rodinal, which was the first commercial form
of paramidophenol, has subsequently had other
competitors, and though, so far as I am aware,
the base of these other single-solution developers
has not been, in the case of any one of them,
mentioned as paramidophenol, it may be taken
that it is this substance which is used.

For paramidophenol is marked among the
other developers by very distinctive properties.
The developing substance itself is soluble in
water only to a very slight extent. For
practical purposes of making a stock solution it
is as good as insoluble. But it forms two kinds
of compounds, both of which are soluble to a very
considerable extent. Paramidophenol is, in fact,
a curiously balanced substance which can act
in a weak way both as a base and an acid. As
a base it combines with strong acids, such as
hydrochloric or sulphuric, forming, in the case
of the former, the paramidophenol hydrochloride,
which is the commercial substance used as the
starting-point in making the developer and dis-
solves in water to the extent of about 1 part in
10 parts of water. But paramidophenol behaves
also as a weak acid, and with strong alkalies,
such as caustic soda, forms compounds which we
may call, for example, sodium paramidopheno-
late. It is this sort of compound which is formed
when a solution of caustic soda is added to a
solution of the paramidophenol hydrochloride.
The first addition of caustic alkali throws down
the paramidophenol itself as an insoluble deposit,
but this latter redissolves, as more alkali is
added, and by using a suitable method of prepa-
ration a very concentrated solution can be
made in this way, and one of very active develop-
ing powers. If the reader with some knowledge
of chemical matters will consider for a moment
he will see that by preparing a developer directly
by addition of caustic soda to the solution of
the hydrochloride there is left in the resulting
developer something which is not wanted there,

THE WORKROOM

namely, the chloride of sodium (common salt),
which is formed by the interaction of the sodium
of the caustic soda and the chlorine in the hydro-
chloride. While a developer can be prepared
in this way, the better plan is to obtain the
paramidophenol base by itself and to dissolve
that by aid of caustic soda and with addition
of some sulphite compound sufficient for the
preservation of the solution.

Making a Concentrated Single- solution
Developer

Some year or two ago M. J. Desalme, in a
paper before the French Photographic Society,
gave working instructions for the making of a
developer in this latter way, and I cannot do
better than give his directions in English weights
and measures. We first dissolve 1\ ounces of
paramidophenol hydrochloride in 60 to 70 ounces
of hot water. This solution ought to be quite
colorless. If, from the presence of tarry im-
purity in the hydrochloride it is not colorless,
the solution can be boiled for a few minutes
with 1 ounce of animal black (bone black),
which has previously been washed with acid.
The hot black mixture is then filtered.

The next part of the process is to throw down
the paramidophenol base, which is done by
adding a solution of 1 ounce soda sulphite and
Z\ ounces soda carbonate dissolved in 20 ounces
of warm water. This precipitates a bulky mass
of paramidophenol. The mixture is allowed to
cool and then filtered with a linen bag, from
which as much water as possible is allowed to
drain. The bulk of the paste thus formed
should be not more than 30 ounces.

This paste has now to be dissolved to form the
stock concentrated developer. It is placed in a
large wide-mouthed bottle marked to a total
bulk of 50 ounces. Ten ounces of soda bisul-
phite lye of the full commercial strength, 35°
Beaume, is well mixed with the paste, and then
strong solution of caustic soda is added little by
little. The caustic soda solution is made by
dissolving 5 ounces of caustic soda in the mini-
mum of water and making the total bulk to 10
ounces. As this solution is added and the
mixture well stirred the paste gradually dis-
solves. About 8 ounces of the caustic soda
solution is required. Toward the end of the
process the caustic soda should be added in quite
small doses, about 30 minims at a time, and,
finally, the solution should be quite clear. A
very little of the bisulphite is then added to
give a very slight permanent precipitate — a pre-
cipitate, that is, which remains on thoroughly
stirring up the mixture for, say, half a minute.
Water is now added to make a total bulk of 50
ounces, and the solution is ready for placing in
small bottles full to the neck, in which it keeps
excellently. To form the working developer, it
is mixed with from twenty to forty times its bulk
of water.

oper) is about the best, but many workers prefer
to use a 1 to 10 developer on account of the
shorter time in which ample density is obtained.
The developer is not one which gives density
quickly; on the other hand, it is not one which
readily fogs the emulsion. With many plates
it is not necessary to add bromide, while in
dealing with overexposure the paramidophenol
developer calls for a much larger addition of
bromide than other developing agents, such as
pyro or hydroquinone. Perhaps the best way
of using the solution for overexposures is that
recommended by the makers of Rodinal, namely,
to start development with a solution containing
5 minims of the stock developer and 5 minims of
10 per cent, potass, bromide solution in 3 ounces
of water, afterward adding a further 5 minims of
stock developer. Where considerable bulk of
working developer is to be made up, but not to
be used at the time, it is well to remember that
it can be kept by using, instead of water, a 5
per cent, solution of soda sulphite for diluting
the stock solution.

The developer is, as I have said, one yielding
excellent results with plates, papers, and lantern-
plates, and the only material for which, I think,
it is not a good developer is roll film. My own
experience may be different from that of others,
but I have found it difficult to obtain anything
but weak and flat negatives on roll film, for which
undoubtedly the best developer is pyro soda.

I should say a word, too, on the use which
can be made of the paramidophenol stock solu-
tion as an addition to other developers which
are working sluggishly, as the result of partial
exhaustion or of underexposure of the plate.
A little added to the pyro-soda or metol-hydro-
quinone developers will often make a surprising
difference in the developing power, and in the
same category of working expedients comes the
suggestion to add (but very cautiously) a little
caustic soda to the working developer in cases
where its action appears to flag. This last,
however, is a somewhat risky method, since
excess of caustic alkali above the quantity
required to form the phenolate compound is
liable to fog the emulsion, but it is one which
may be tried when the only other alternative
is to discard the plate. And, lastly, perhaps I
may give a test which can be applied to a
concentrated developing solution in order to
see whether it consists of paramidophenol or
of other developing preparations, particularly
metol and hydroquinone in combination. Add
a little hydrochloric or acetic acid — the strong
acid mixed with, say, twice its bulk of water.
In the case of paramidophenol the effect is to
neutralize the caustic alkali combined with it
and to throw down the base itself as a white
deposit. Addition of further acid clears the
solution again, the acetate or hydrochloride of
the base being formed. — British Journal of
Photography.

Developing with Paramidophenol

The use of the developer itself is so familiar
and so simple that it is scarcely necessary to say
very much about it. For average negative work
a dilution with 20 parts of water (1 to 20 devel-

Copying

It seems to be generally taken for granted
that anyone with a very elementary knowledge
of photography can make a copy and that any
old lens and camera will suffice so long as the

THE WORKROOM

focal length of the one is sufficiently short and
the extension of the other sufficiently long;
hence it is that nine out of every ten copies
require only a very casual glance to stamp them
as what they are. A really well and carefully
executed copy should be indistinguishable from
the original except on very careful examination
• — that is, of course, providing the picture copied
is in a good state of preservation, and in the event
of such original being faded or otherwise defaced
the copy should in every case be an improvement
upon the original. I might perhaps go further
than this and submit that even where the
original is good the copy may, by careful treat-
ment, be made to excel that original both
technically and artistically. The main cause
of failure to obtain good copies lies in the fact
that the operator, as a rule, is prone to look upon
the operation of copying as something beneath
him — that he is expending labor capable of
higher things on a trifle, or, to use an old simile,
that he is using a sledgehammer to crush a fly.

Looked at in a sober light, it will be seen that
the idea is a fallacy, and that the operator who
uses his abilities to the utmost, who, in fact,
extends himself with the aim in view to produce
the very best result from what may be a very
third-rate picture, will at least have the satis-
faction of knowing that he has done his very
best, and what is more, he will probably gain
more credit than he would have obtained as the
result of an original masterpiece.

Perhaps the most glaring fault in a great
many copies is that they are not like the original
— in other words, they are distorted; this is
mainly due to the lack of precaution as to having
the camera absolutely square with the picture
being copied. If the outside lines of the picture
are not perfectly square on the resulting nega-
tive it must be clear that distortion of the
features has taken place, and this is in most
cases due to the use of an ordinary stand camera.
If the camera is placed on a long board or
ordinary kitchen table, and the board to which
the picture to be copied is affixed, is fastened
straightly at one end, the lens being directed to
the exact centre of the picture, there need be
little fear of distortion occurring, and certainly
may be made doubly sure by placing a T-square
against the copying board and the baseboard
of the camera. Naturally, it is necessary to see
that the swing back, if the camera in use possesses
one, is in its correct position, that is, not swung
either forward or to either side. All this seems
a very simple matter, and yet it is often over-
looked, as it is "only a copy." Then as to the
lens: it may be admitted that a cheap lens will
produce a fairly good copy, but it is advisable
that even if cheap it should be good and free
from aberration. Distortion may also occur
when an unmounted print is being copied owing
to its not being absolutely flat, and the better
way of overcoming any tendency this way is
either to mount the print or to place it in an
ordinary pressure frame and copy through the
glass, care being taken to avoid reflections.
These same reflections are often a source of
trouble where an enamelled print is in question,
but with a little extra care they may be avoided,

either by alteration of the lighting on the picture
or by screening off surrounding objects with dark
material. When the original is at all faded or
discolored it is always advisable to use a pan-
chromatic plate, and the same remark naturally
applies to all colored originals. Some operators
when copying always stop their lens down to the
utmost because, as they say, the picture is not
likely to move, so the length of exposure does not
matter, and they ensure absolute sharpness. In
my idea this is a mistake. The largest possible
aperture should be used consonant with the
correct degree of sharpness, for directly you go
beyond that you are merely sharpening the
grain of the paper and thereby giving additional
work to the retoucher; in fact, a much larger
stop may be used in copying than in photograph-
ing a solid object for the whole of the subject is in
one plane and, given a decent lens, if one part
is focussed sharply the whole picture must
necessarily be the same.

The development of a copy should be care-
fully watched, and directly all necessary detail
is out and sufficient density obtained the devel-
opment should be stopped at once, the main
object being to obtain a soft and yet brilliant
result. Too thin a negative may give a soft
print with sufficient brilliance if gaslight paper
be used for printing, but for P. O. P. the devel-
opment requires to be carried farther, and for
bromide farther still, for as a rule a copy nega-
tive will be found to print through more easily
than an original. It will be found that a fairly
strongish developer, and one that is well
restrained, will, as a rule, yield a better result
than a normal, as used for original negatives.

Many photographers are of opinion that the
negative of a copy should not be retouched,
but personally I consider that it requires far
more careful retouching than an original. By
retouching I do not mean remodelling of the
features, or the mystic touch which is apt to
impart an appearance of more youthful days,
for so far as the actual portrait is concerned no
alteration should be made, but the coarseness
due to the copying of the grain of the paper
requires careful working, not only on the face
but on every part of the negative. I have
known retouchers and first-class men earning
high wages spend two hours or more on a post-
card negative copied for publication purposes,
and the result has certainly justified the labor
and expense entailed. The same amount of
work on an ordinary copy, where perhaps only
six or, at most, a dozen copies are required, as
against thousands in the case I have quoted,
might be deemed wasteful and unnecessary, but,
as a rule, it will be found that an increased price
can be easily obtained for such high-class work,
and even if it were not so, the extra cost of labor
will easily pay for itself in the shape of adver-
tisement. In cases where the original pictures
are very weak or flat, as also with line drawings
in ink or pencil, it will be found that the use of
a slow process plate will ensure better results
than can be obtained in the ordinary way.
Ultra rapid or even so-styled extra rapid plates
should never be used for copying. — C. BRANGWIN
Barnes in British Journal of Photography.

THE WORKROOM

Steaming Bromide Prints

The steaming of bromide prints puts prac-
tically a new surface on the paper. Regular
bromide workers make good use of this dodge
to cover up traces of hand work. When a
print has been worked up, by strengthening
some parts with pencil and rubbing down other
parts with typists' india rubber, the surface is
anything but attractive. The way to produce
a more pleasing effect is to let the steam from
the domestic kettle play on the surface of the
print. This partly melts the gelatin coating
and allows the hand work to sink in. The
steaming must be done carefully. On no
account should the print be held nearer than
6 inches to the spout of the kettle, and it must
be kept moving all the time so that the steam
may act evenly all over the surface. If one
steam is not sufficient, the print should be
allowed to dry before the second attempt is
made. It should be pointed out that, where
prints are worked up with broad masses of
water color, the steaming dodge is not so effec-
tive.— Professional Photographer.

An Effective Substitute for Farmer's Reducer

The cost of potassium ferricyanide (red prus-
siate), which forms one of the components of
the well-known Farmer's reducer is exorbitant.
A substitute may be had by using the ferric
chloride, or perchloride of iron, which in com-
bination with hypo makes a very energetic
reducer, and used alone a controllable agent.
The formula is, as follows:

Ferric chloride .... 60 grains

Citric acid 120 grains

Water 4 ounces

The plate is rocked in this solution and the
reduction carefully noted, and when the proper
degree is reached, immediately washed under the
tap. If the negative requires considerable re-
duction after treatment with the iron and citric
acid, it shoud be placed for half a minute in a
solution of hypo about 10 per cent, strength.
Here the action goes on very rapidly, and care
must be had not to let it go too far. This
reducer may also be used for local reduction in
the same way as the Farmer's reducer.

Postcard Printing and Developing

Look at it how we will, with favor or other-
wise, there can be no doubt that the postcard
portrait has come to stay. There must be very
few firms who have not, to a greater or less extent,
felt their influence, and they have come to be,
in very many cases, a large portion of the daily
output.

In my own case it has been a tale of steady
progress, from an occasional dozen or so ten or
twelve years ago to several hundred a week at
the present time. Happily all the "better-
class" work has not been pushed out, and it
has been my endeavor so to arrange matters
in the printing-room that a large number of
cards may be dealt with without undue interfer-
ence with the ordinary output of prints. A
record of my method may be of service to
others.

I have never worked a "strip" printer,,
although I have no doubt it is a very useful
adjunct to the ordinary printing apparatus, all
my work is done with a "Cyko" printer, which
is too well known to need description. One alter-
ation was made upon finding that the ruby lamp
supplied with the apparatus gave too small an
amount of light for purposes of adjustment.

A 5 candle-power incandescent lamp was
obtained, and, after fixing in its holder, was
covered with a thickness of ruby paper, and
enough light was obtained by this means to
ensure ease of adjustment without it being strong
enough to cause trouble by fog, etc. A plate-
holder is used to carry the negative. This was
made on the premises by cutting two pieces of
cardboard — one with an opening just the size
of the negative, and the other | inch smaller
all round, and fastening the two together, taking
care that the upper layer is not too thick for the
thinnest negative likely to be used in it, or loss
of definition would possibly result.

The masks are cut to allow a margin of ys
inch round the card, and are cut with large
enough borders to permit of fastening to the
plate-holder just mentioned, thus avoiding any
disfigurement of the negative by stamp paper
or whatever may be used for fastening.

Raised guides are carefully fastened at the
proper distances — one at bottom, and another at
the side of mask — -so as to allow of proper
adjustment being made in the shortest possible
time.

Exposure varies, of course, with the density of
the negative.

A 5 candle-power lamp is used for bromide
cards, and the light is sometimes further reduced
by placing tissue paper upon the piece of frosted
glass, which forms a permanent part of the
printer. Care is taken to adjust these things
so that an exposure of from two to six seconds
is required, as if the exposures are shorter than
this there is some difficulty in correctly timing
to ensure regularity in the whole of a dozen
cards.

For development a 10 x 8 dish containing 30
ounces to 40 ounces of solution is used, amidol
being found best for all kinds of papers and
cards

Having everything in readiness, six cards are
inserted at one end of the dish, and then moved
singly to the other end. In the vacant end six
more cards are placed, being moved one by one
to the top of the others, and then the whole
dozen is moved back singly, thus bringing those
first inserted at the top. Then another six are
inserted, and again they are all moved singly to
the opposite end of the dish, and thus develop-
ment proceeds until the whole batch of cards is
disposed of.

The correct depth is judged as the cards lie in
the dish, and they are taken out in sixes, just as
they are put in; and, as long as the exposures
have been made correctly, twenty-four to thirty
cards can be kept going at the same time.

The developer is added to from time to time
as is found necessary to keep it up to working
strength.

After development the cards are, of course,
rinsed in plain water and fixed as usual, this

THE WORKROOM

latter operation being attended to by an as-
sistant.

Time of development is about 2| minutes,
and this gives ample time for proper exercise of
judgment as to depth.

I find no difficulty by this method in printing
and developing a hundred cards in an hour, and
there are no reprints.

Greater speed could no doubt be obtained by
increasing exposure and shortening development,
but obviously this could only be at the loss of
brilliance and evenness.

The absolutely essential thing in this, as
perhaps in all other branches of photography, is
correct exposure. Having this, everthing else
is easy. — British Journal of Photography.

A Pliable Background

I have always wanted (writes A. W. E. in
Camera Craft) a lantern screen that could be
rolled up out of the way when not in use, and
one that would not easily crack if it became
wrinkled a little in the process. Another
lantern slide man gave me a formula which he
had clipped from some journal, and I tried it
with the best results. The mixture is com-
pounded as follows:

Glycerin 1 pound

White glue 1 pound

French zinc oxide ... 2 pounds

Hot water 1 gallon

The glue, of course, should be dissolved by heat
in a portion of the water and the glycerin well
worked in. The mixture is applied while hot.
The cloth should be tightly stretched on a
frame during the process of painting and drying.
And here is a hint as to the tacking on of the
sheet. Do not try to start at one corner and
follow along one edge in tacking to the frame.
Place a tack or two at each corner, and then
tack half way between on each edge. Then
place a tack half way between each tack already
in place. The result will be an even, tight sur-
face, one impossible of attainment by tacking
along one side at a time.

A Cheap Lantern Screen

A good, cheap lantern screen for a photog-
rapher can be made from pieces of oil-painters'
canvas, carefully joined, or any other close
material. Bolton sheeting or even calico,
however, can be used. The screen should then
be sized with a 30 per cent, starch solution, and
painted with the following:

Water -| gallon

Whiting 12 ounces

Glue size 4 ounces

Treacle 4 ounces

Glass-stoppered Bottles — A Useful Tip

Although numerous hints have been given
from time to time for dealing with a stopper
that has become tightly fixed in its bottle, the
writer cannot remember seeing any suggestion
as to how this vexatious occurrence can be

avoided. The immovable stopper is frequently
the outcome of placing the stopper into the
bottle when either, or possibly both, are wet
with the photographic solution which the bottle
contains. The result of this is that the stopper
not only fits tightly (as, of course, it is designed
to do), but also that when the liquid between
neck and stopper dries out it leaves a small
residue of crystals or other incrustation which
practically "cements" the stopper into position.
To obviate this, care should be taken in pouring
solution into a bottle, to avoid making the neck
of the bottle wet. This can be ensured by
using a suitable funnel for the purpose. Then to
make assurance doubly sure both stopper and
neck should be rubbed with a dry, clean duster.
This simple method of prevention is worth a
dozen cures, many of which may be somewhat
doubtful and not without danger to both the
photographer and to the bottle — Amateur
Photographer.

Altering Density and Tones in Bromide Prints

The tones and density of the image in a
bromide print are as subject to modification
as those of the image in a negative. That is
to say, they may be modified by intensification
or reduction quite apart from toning or altera-
tion of the color. It is perhaps in the matter
of intensification of the picture that the great-
est scope is offered. Many a badly developed
print or enlargement can be saved and a fine-
toned picture produced if one of the following
methods is adopted. The same or similar con-
ditions are open to us when intensifying nega-
tives, slides, etc., but the photographer does not
always realize that a bromide print and negative
differ chiefly as regards their support; the
negative or lantern slide is a gelatin plus silver
image on glass, the bromide print is the same
thing on paper. Here then we note that in our
intensifying or other methods of dealing with
a paper print we must bear in mind that a
formula or method which works quite satisfac-
torily with a glass or celluloid basis may stain
the paper.

Color Changes or Toning

In general it may be said that intensifying a
bromide print also changes its color. Hence
it is difficult to draw the dividing line between
intensifying and toning actions. We therefore
have to note that while we strengthen the image
by adding new material we may so change
(lighten) the color that we are thereby little
if anything better off as regards contrast.

Grouping Methods

Although there have been published or advo-
cated a considerable number of formulae for
bromide print intensifying processes, yet when
one comes to boil them down into simplified
form there are really only a few in actual num-
ber. These may most conveniently be grouped
together, e. g., silver, chromium, mercury, and
copper, with a few odd methods which may be
described as "various."

THE WORKROOM

Silver Intensification

For silver intensification use the following:
(a) Dissolve 10 grains of silver nitrate in distilled
water 1 ounce; (b) distilled water 2 ounces,
citric acid 6 grains. Bathe the print in 2
ounces (b) for a minute or so,1 return this to the
graduate and add 3 grains of pyro and apply
to the print for a minute. Again return to the
graduate, and add 1 dram of (a) and apply to
the print for a minute, then add another dram
of (a), and so on.

It would appear that (1) the print must be
made acid; (2) the silver (a) must be added a
little at a time, until we have 1 ounce (a) in 2
ounces (b) ; (3) staining may come from the dis-
colored pyro, therefore if the mixture becomes
greatly discolored it should be thrown away
and a fresh lot mixed; (4) if the silver be added
too quickly it may be deposited on the paper,
where there is no image to aid as a nucleus.

Chromium Bleachers

Here is a table which shows at a glance
characteristic or typical formulae employing
chromium in the bleaching bath. Note: the
quantities are grains of solids and minims of
liquids per 1 ounce of water.

(Water — 1 ounce)

Potass, bichromate 5-20 10 10 10 5 —

Chromic acid . . — — 5 — — 10

Calcium chromate . — — — — — —

Potass, bromide . — 5 — — — —

Potass, iodide . . — — — ■ — ■ 5 —

Hydrochloric acid . 1-20 — — — 10 10

Nitric acid . . . — ' 8 — 8 — —

Alum . . . . — — — — 15 —

If a minimum change of color is desired amidol
or diamidophenol can be recommended, e. g.r
water 1 ounce, soda sulphite 20 grains, amidol
or diamido 2 to 3 grains. In general by dilut-
ing the developer and allowing a proportionately
longer time we get results that are slightly
warmer in color.

Pyro-soda gives a warmish and sometimes
greenish black.

Caustic alkali in the developer may cause
frilling.

The whole process may be repeated, but it
does not afford much further strength and is
not unlikely to yield stain.

Stains

Stains may be due to greasy, hot fingers;
imperfect fixing before bleaching; partial bleach-
ing as when two or more prints overlap in the
bleacher, etc.; and insufficient washing after
bleaching.

Mercury Bleachers

The second group of bleaching baths contain
a mercury salt in some form, as may be seen
from the typical formulae here brought together
for ready comparison.

(Water — 1 ounce)
Mercury bichloride . 3

Potass, bromide
Potass, ferricyanide
Am. chloride
Soda sulphite .
Mercuric iodide

3 10
9 5-25

4 —

The print is thoroughly bleached in one or
other of these baths. The lightest parts of the
original print practically vanish, the darker
parts turn a nondescript orange-gray. The
print is washed under tbe tap till free from
yellow stain. WTe may hasten the discharge of
color by adding a little, say 5 grains per ounce,
potass, metabisulphite to the wash water; or
for the same purpose we may use: Water 20
ounces, soda sulphite \ ounce, sulphuric acid or
hydrochloric acid 20 minims. There is no
gain by prolonged immersion in the bleacher or
when washing after bleaching. A pyro-devel-
oped picture, will not weaken in the bleacher so
much as images produced by most other devel-
opers. On the other hand, a first image by pyro
shows less stain when chromium bleached and
then darkened by some other developer.

We may redarken our bleached print by
various agents, e. g.: (1) Water 1 ounce, ammo-
nium sulphide (liquid) 3 minims; this gives a
fairly strong result of warm black color, but
may stain the print. It should be used very
dilute only. (2) Any of our ordinary alkaline
developers. These need not contain any bro-
mide and should not contain excess of soda
sulphite. (3) Water 1 ounce, ammonia fort.
.880 3 drops, Schlippe's salt (sodium sulph-
antimoniate) 5 grains. This gives a red-brown
image, but has a tendency to yellow stain the
high lights. Wash in very dilute ammonia.

As before mentioned, the figures indicate the
grains of solids per ounce of water.

Darkening Agents

We have quite a choice of darkening agents.
The following notes apply in connection with
those baths containing mercuric chloride, i. e.,
mercury bichloride, i. e., the first four columns.
After bleaching wash the print in water slightly
acidulated with hydrochloric acid, say 4 to 5
drops per ounce.

1. Strong liquid ammonia 5 to 6 drops per
ounce water — warmish brown-blacks.

2. Soda sulphite 10 grains per ounce — gray-
brown.

3. Potass, metabisulphite 10 grains per ounce
— cold gray to violet gray.

4. Gold chloride 1 grain per ounce — blue-
purple, blacks.

5. Am. sulphide 3 to 5 minims per ounce —
warm-red, purple-blacks.

6. Hypo 5 to 10 grains per ounce — purple-
browns.

The soda sulphite and mercuric iodide can
hardly be called a bleaching bath, as it effects
little color change as compared with the other
bleachers. It might better be termed a "brown-
ing bath." After washing, it should be followed
by any alkaline developer — preferably one
without sulphite.

THE WORKROOM

Copper Bleacher

Water 1 ounce

Copper sulphate 10 grains

Potass, bromide 10 grains

After bleaching wash in water acidulated with
nitric acid, from 4 to 5 drops per ounce. The
print may be darkened by any alkaline developer
or by a 5 per cent, solution of silver nitrate in
distilled water. — Amateur Photographer.

have more latitude, i. e., room for errors of
judgment, in the matter of exposure with a
plate of the rapid class than with the ultra-rapid
speeds. — .4 mateur Photographer.

Snow Photography

The fundamental fact to remember is that
when the ground, trees, etc., are covered with
freshly fallen, i. e., clean snow, this white sheet
is acting partly as a reflecting and partly as a
light-scattering agent with regard to the light
from the clouds, sun, and sky which falls on it.
The consequence is that the same subject with
and without snow — all other things being equal
— requires a very different exposure. Roughly
put, a cover of clean snow enables one to halve
the exposure of the scene without the snow.
But this must not be taken as a cast-iron rule,
as there are various factors which may alter it
considerably. The next point is that a snow-
clad scene very often means one in which the
foreground presents very strong light-and-
shade contrasts. Thus there is much more
contrast between a dark tree trunk and white
snow than there is between the same tree trunk
and, say, earth or grass. Nevertheless, the old
rule of exposure for the nearest darks of pic-
torial importance still holds good. But in such
a case — i. e., where the high-lights (snow and
ice) may be over-exposed — one's aim should be
to give enough, but no more than just enough,
exposure. With regard to development, the
old rule of "Expose for the shadows and let
the high-lights take care of themselves" will
not do in present-day dry-plate photography.
It requires amending to read, "Expose for the
shadows of pictorial importance, but develop
so as to preserve gradation in the high-lights. ' '
This means that we must not carry on develop-
ment so far as to make the second and third
lights as dense as the high-lights. You will find
in practice that as soon as the highest light
"shows through," i. e., is unmistakably visible
as a dark patch on the back or glass side of the
plate, it is time to think about stopping develop-
ment. But this is not to be taken as a cast-iron
rule, for with some plates the high-lights are
much more visible at the back than in the case
of other plates. But if the worker sticks to one
brand of plates and once gets to know the
appearance of correct development, this, among
other signs, is a useful guide. If the factorial
system is adopted it will be advisable to lower
the factor, say, from 12 to 10, or in that pro-
portion, when dealing with snow subjects. In
general, it is better to under- than over-develop,
as with over-development it is not possible to
get back the lost gradations in the high-lights
by reduction, while a slightly under-developed
negative can easily be intensified to any required
degree by choosing the right process. Xo special
plates are required, but certainly it is very
desirable to have them backed. In general, we

A Bromoil Transfer Process of Three-color
Printing

After dabbling in color photography for
upward of twenty years, I think I have hit
upon a method which can give results at least
as good as any practised at present, is simpler
in working, and more certain in results. There
is no kinkling of tissue as in the stripping film,
no frilling as in ordinary carbon or Ozobrome
methods, no heartbreaking with dyes as in
pinatype, and no uncertainty such as the
gummist always experiences. In addition, the
process is inexpensive. Any kind of effect, any
kind of texture and surface are at command,
and the "control" is unlimited, so that the
"personal" element can have full scope. In this
and in several other respects it is an ideal process,
and will, I venture to think, become popular
with color enthusiasts among both amateurs and
professionals.

It is because of the many defects in the differ-
ent processes mentioned, in all of which I have
worked, and — this may surprise some readers —
have been able to sell quite a number of portraits
to the general public, that I have sought to work
out some more certain, ready and effective method.
But even with the Raydex method — which is
improved Ozobrome and excellent when every-
thing goes right — there has recently been so
much uncertainty in the working of the tissue,
owing, I believe, to the difficulty in obtaining
raw material of standard quality, that I decided
to experiment in Bromoil transfer. I had long
considered this practical, but was fully alive
to the difficulties. The principal of these were
the depth to which each color should be printed,
and register of all three. Of course, the negatives
must be correct to start with. I need scarcely
say that in no color process is even moderate
success possible unless the negatives have been
correctly exposed, correctly developed and are
in balance. It is easy to go wrong in any color-
printing even when starting with correct nega-
tives. But in the system here advocated a
patient worker can be reasonably sure of obtain-
ing the result aimed at. Briefly, this is assured
by thin successive printings.

Beginning with the yellow — which must be
fairly correct before the red is applied (as this
color must be underneath) — thin printing of the
red and blue alternately can be employed and
the image built up until the full range of tones
and any depth of color desired is obtained.
This is the great and outstanding feature of the
method. In addition, there is complete freedom
from defects in other processes. There is no
blistering, no frilling, no temporary supports;
the color being transferred to the final support
at once. At first I wrought with collotype colors
thinned with Bromoil medium, but recently I
wrote to Messrs. Sinclair Co., Limited, sending
them three primary colors to match, which
they did with great courtesy and despatch. The
tubes they sent me work well.

THE WORKROOM

It may be in order to mention here that each
printing must be thoroughly dry before the
next is applied. From beginning to end this
rule must be adhered to. It means time, and
is a drawback to this beautiful process, but the
patience required is fully compensated for when
the last blue printing has been applied and the
picture, bold, strong, and vigorous, or delicate
and soft in detail, stands out a thing of beauty,
which, we are told, is a joy forever.

The Bromide Print

The success of the process must obviously
depend upon the quality of the bromide prints,
and these, of course, must be made from nega-
tives as carefully and correctly exposed and
developed as for any other method of color
printing. The prints must be vigorous and full
of detail. Over-exposure must be avoided, and
yet an exposure bordering on this is necessary.
A weak amidol developer, well restrained, is
probably the best. A suitable print, and one
from which a perfect transfer can be obtained,
will have been at least five minutes in the
developing dish. This is a fairly good guide.
If the print develops quickly and the high-lights
begin to obscure earlier than this, it is over-
exposed, and will give a flat transfer. The
shadows must have time to darken thoroughly,
and the old adage for plate-exposure of exposing
for the shadows and allowing the high-lights to
take care of themselves, can be applied here in
reverse order— that is, an exposure must be
given that will bring out all the detail in the
high-lights. Should the print be hard, with
high-lights lacking in detail, no amount of
coaxing will induce it to take on pigment in these
parts. A print that is perhaps a little too dense
can be used. Careful treatment and "hopping"
the high-lights will brighten it up, but when the
high-lights are just white paper nothing can be
done: a new set of prints must be made.

To obtain exact register of the three transfers
is not free from difficulty, and I must confess I
have experienced much trouble in this direction.
But difficulties were made to be overcome, and
I have devised and now employ a method which
is simple, easy, and effective. Before bleaching
the prints — that is, after they have been fixed
in plain hypo — the acid fixer comes after the
bleaching — I take the print for the blue and one
of the others — it is immaterial which comes first,
as all three must be dealt with — and lay them
dripping wet on a sheet of glass, keeping the
blue print on top. The water between the
prints causes them to slip backward and for-
ward easily, and, held up to the light, the prints
can be quickly brought into register. Then
firmly hold the prints together, allow the water
to drain away for a few moments, and then the
prints, since they cling together, will not go out
of register if carefully handled. Taking them
off the glass, lay them on a smooth table. Next
pierce a hole through the prints anywhere near
each corner. A darning needle is just the thing.
The third print is treated in the same manner,
brought into register with the blue printer and

holes pierced near the corners to correspond
with the others. Three holes can suffice, but I
always make four. After the yellow print has
been inked and put into position on the paper to
receive the transfer, guide marks are made with
a soft lead-pencil by drawing a line from the
pierced holes to the edge of the paper. These
can easily be removed, when printing is com-
pleted, and thus leave a clean margin all round
the finished print. In all subsequent printings
it is only necessary to bring the holes in line with
the pencil marks to ensure correct register.

On Canvas or Paper

One of the greatest recommendations of this
process is the variety of final supports which can
be used. Paper ranging from smooth, even
glossy, surface, if desired, to the roughest hand-
made, will readily suggest itself, the former for
fine detail and the latter for broad effects; but
canvas or painted wood panels can also be used.
In both canvas and wood the surface must be
painted white. The prepared canvas is retailed
by the artists' colormen, and can be had in sheets.
It is coated with a gray medium and one coat
of flake white should be sufficient.

Paper Brushes, etc.

As in bromoil and in bromoil transfer, any
good bromide paper is probably suitable. The
only difference, as far as my experience goes,
is that some brands bleach at a lower temperature
than others. It need hardly be impressed upon
a beginner that in this, as, in fact, any other
photographic process, the best comes cheaper in
the end.

Limitations

Although the results obtained are beautiful
and, as can be easily understood, from an
artistic view point offer possibilities entirely
beyond the reach of any other three-color
printing method, there is a limit past which no
combination of colors laid one on top of the other
can go. Until we can obtain inks as transparent
as, say, the old stripping film, the shadows will
always retain a more or less heavy appearance.
In many subjects this is not a fault, but in others
it is a drawback. The remedy would be to place
the color side by side instead of one on top of the
other. I have an idea, but cannot spare the time
to experiment with it, that by using a screen
such as employed in half-tone block-making,
this might be possible. If enlarged bromide
prints were used the screen could be held in
contact with the paper during exposure. Placed
at a different angle for each print, the lines
would intersect, and the question here would
be so to arrange the screen that the little dots
of color in the finished print would lie side by
side as the dyed starch grains do in an Auto-
chrome. Instead of the screen being held at an
angle the better plan would be to have three
screens specially ruled so that, if held in the
same position for all three prints, the desired
result could be obtained by purely mechanical
means. If this idea can be carried out — and it
seems quite practical — it should furnish the ideal
method of color photography. Bromide prints

THE WORKROOM

made in this way would be equally suitable for
the Ozobrome or Raydex process and the results
should be superior to any previous color process
on paper. — Charles Donaldson in British Jour-
nal of Photography.

Know Your Fixing Bath

One can't become too intimately acquainted
with the peculiarities of the ordinary acid fixing
bath, especially during the hot summer months.
There is no better, cleaner-working fixing bath
for developing-out papers, and there is no one
photographic solution that is more abused. As a
consequence, a large portion of the ills to which a
photograph is heir may be traced to the fixing
bath.

The acid fixing bath keeps the print hard
and firm, stops development immediately, pre-
vents developer stains and fixes the print if the
bath is properly made and is in good condition.

One of the principal causes of trouble is the
worn-out bath which remains clear, even after it
has been used for as many prints as the hypo in
the solution can be depended upon to fix thor-
oughly. Sixty-four ounces of the regular Artura
fixing bath should never be used for more than
the equivalent of two gross of cabinet prints,
which would be approximately six dozen 8 x 10
prints. This does not apply to Artura alone,
but to all developing-out papers.

Nothing is more uncertain than an improperly
fixed print. It attacks your reputation in an
underhanded way — stabs it in the back, as it
were — and you learn of the injury too late to use
first-aid measures. The print may look all right
when it leaves your hands, but after the customer
has had it for some time it begins to look sick.

The highlights yellow first and if it has had
very little fixing the entire print may discolor.
Keep an account of the number of prints your
bath has fixed, and make a fresh solution as soon
as it nears the danger point, which should be
while the bath is perfectly clear.

There are many other causes of trouble, the
first of which may be in compounding the bath.
The most approved method is to make a stock
solution of hardener and make up a fresh fixing
bath every day or for every batch of prints.

Stock Solution of Hardener
Water ....... 80 oz.

E. K. Co. sulphite of soda 16 oz.

No. 8 acetic acid (28 % pure) 48 oz.
Powdered alum . 16 oz.

Dissolve the chemicals in the order named.

We do not say "dissolve the chemicals in the
order named" from force of habit, but with very
good reason. If the alum is added to the sulphite
before adding the acid, a precipitate of aluminum
sulphite is formed which it is very difficult to
again get into solution. Be sure the sulphite is
thoroughly dissolved, then add the 28 per cent,
acid and then the alum. Some photographers
prefer to dissolve the sulphite in half the water
and the alum in the other half, but in compound-
ing, the acid must always be added to the sulphite
before the alum.

To make the fixing bath, dissolve 16 ounces of
hypo in 64 ounces of water, and when sure the

hypo is thoroughly dissolved, add 8 ounces of the
above hardener. If the hypo is not thoroughly
dissolved, the addition of the hardener is liable
to make the bath milky. The bath should be
clear, and if not, it is an indication that sulphur
has been released, and with sulphur released
the solution becomes a toning bath as well as a
fixing bath.

The addition of any acid (with the exception
of sulphurous) to plain hypo will release sulphur.
Alum will do the same, but not in the presence of
acetic acid and sulphite of soda. The alum is the
hardening agent, the acetic acid is the clearing
agent and arrestor of development, the sulphite
of soda in combination with acetic acid is the
preservative, so it is readily seen that the one-
solution acid fixing bath answers a three-fold
purpose.

Prints could be developed, rinsed in a short
stop and clearing bath of acetic acid, fixed in
plain hypo and hardened in an alum bath, but
the acid fixing shortens the operation and does
the same thing better.

The chemical action of sulphite of soda and
acetic acid in preventing the formation of sulphur
is due to the fact that any sulphur which is
formed combines with the sulphite to form hypo.
In fact, hypo is prepared commercially in this
way by boiling together sulphite of soda and
sulphur. If sulphur has already been precipitated
in the fixing bath, further addition of sulphite
of soda will not dissolve it (or re-form it into
hypo) as a cold solution of sulphite of soda is
only capable of dissolving sulphur which is about
to be precipitated and which at this stage is in a
very finely divided condition.

Practically all the trouble encountered with
the acid fixing bath is due to the releasing of
sulphur and its consequent action on the print
that is being fixed.

Impure sulphite of soda, old sulphite or
sulphite that has been exposed to the air will
contain considerable sulphate, which has no
action as a preservative. If such soda is used
in making a bath and it becomes milky it is due
to a lack of sufficient pure sulphite.

Sulphite of soda oxidizes even more readily
in solution than in its dry form, so the hardener
should be kept in a bottle tightly corked, and the
prepared fixing bath should be poured into a
bottle if it is to be used a second time. Oxidation
will destroy a bath that has never been used
if it is allowed to stand in an open tray for some
time.

Heat will also cause sulphur to be released
from the hypo, even though a bath has been
properly prepared, so it is safest to make the
fixing bath only for immediate use in hot weather.

It is as important to wash prints thoroughly
after fixing as it is to fix them properly. Prints
should be kept separated in the wash water to
allow the fixing solution to be thoroughly
eliminated from the emulsion. If prints lie
matted together in warm water they may begin
to tone in spots, or if they are removed from the
water before the hypo has been entirely elimin-
ated, any portion of the print containing hypo
may turn brown after the prints have been laid
out to dry.

Acetic acid Xo. 8 (28 per cent, pure) is specified

THE WORKROOM

in our formulas because it is the proper strength
for the fixing bath, and may be procured at any
photographic supply house. You may be
depending upon your local source of supply for
acids, in which case it is just as well to use
glacial acetic 99 per cent, pure, provided it is
properly diluted before it is added to your other
chemicals. To make a 28 per cent, solution add
3 ounces of 99 per cent, acid to 8 ounces of
water.

This dilution of the glacial acid is important,
otherwise an excessive amount of sulphur dioxide
gas would be given off from the sulphite, even
though only an equivalent quantity of strong acid
was employed.

Knowing the action of the acid fixing bath,
and taking proper precautions to prevent
sulphurization, will ensure permanent prints,
even in the hottest weather. And with a stock
solution of hardener it is certainly very easy to
dissolve sixteen ounces of hypo in sixty-four
ounces of water and add eight ounces of the
hardener. There is really no excuse for fixing
bath troubles, either in summer or winter, if we
will familiarize ourselves with the above facts
and keep the precautions constantly in mind. —
Trade News.

Three Types of Lenses

The names of lenses are very numerous, but
these names by no means represent different
types. Broadly speaking, lenses may be divided
into three classes — the portrait, rapid rectilinear,
anastigmat classes — but, though this classifica-
tion may seem quite familiar, it is not certain
that the essential differences are generally
understood. These differences mainly consist
in varied degrees of correction, and the points
of chief importance to the user are not the par-
ticular aberrations that are corrected, but the
varying behavior of the three classes at large and
small apertures and over large and small fields.
It must be recognized that photographic optics
has not yet reached such a stage of perfection
as to permit the production of a lens that will
work equally well at large or small apertures
over either large or small areas. In every case
there is a certain amount of compromise, and
the correction for a large aperture involves the
sacrifice of some other quality, as does also the
production of good definition over large fields.

Taking the portrait type of lens first, the early
specimens were essentially lenses corrected for
very large apertures but over very small fields.
At full aperture they may produce the most
exquisite definition over an area not much
bigger than a postage stamp, but give very
inferior results over a larger area. Obviously
such lenses may be of extreme value for certain
work, and astronomers in particular are always
glad to come across a fine specimen of the early
type of Petzval portrait lens that possesses these
qualities, for the central definition excels any-
thing that can be secured with modern photo-
graphic lenses. This particular quality is,
however, by no means necessary for portraiture;
hence in modern types of portrait lenses some of
the central definition has been sacrificed for the
purpose of getting better definition over a larger

area. The alteration is one of degree only, and
so the portrait lens is still essentially a lens that
will work at a very large aperture, but will cover
with good definition only a very small area or
angle.

In the next type of lens, more or less accurately
designated "rapid rectilinear," the most essen-
tial difference is a reduction of aperture and the
power of covering a bigger field. While a 6-inch
portrait lens will sharply cover only the central
part of a quarter-plate, the rapid rectilinear
//8 should cover the whole sharply to the corners.
This represents about the most that can be
expected from rapid rectilinear lenses, and,
while the lenses of the same or similar type have
been issued with //6 apertures under various
names, they will not cover such large plates.
The best of these f/6 lenses form types inter-
mediate between the rapid rectilinear and the
portrait type, while the worst are simply rapid
rectilinear lenses fitted with an aperture that is
too large to permit of good definition anywhere.

Next is the anastigmat type. This is essen-
tially a lens that at large aperture will cover a
large area; but to attain this very useful quality
again, sacrifices have to be made, the chief of
which usually is the perfection of definition at
small aperture. At first sight this seems a serious
matter, but a little consideration will show that
it is one of small moment so long as large aper-
tures are in use. The small aperture forms only
a small portion of the large one, and the imper-
fectly corrected area of the lens in use with the
small aperture plays a very small part in the
formation of the image when the large aperture
embracing the more perfectly corrected and much
larger areas remote from the centre are used.
There is also a certain amount of compromise
as regards the definition in the area covered.
Perfect definition cannot be secured over the
whole area, and, as a rule, the best definition will
lie at the centre and in a circular zone some-
where between the centre and the margins of the
disk covered. The chief virtue of the anastigmat
lens is that it will cover a larger area than either
the portrait or rapid rectilinear types at a large
aperture. If a large aperture is not wanted,
the rapid rectilinear will work almost as well,
and, in fact, will fulfil most of the requirements of
the average photographer. On the other hand,
if a very narrow angle alone is to be covered, a
portrait lens will work as well as an anastigmat,
and probably at an even larger aperture. The
anastigmat is the most universal of the three
types, as it will do all that the other two will
do, but for a great deal of ordinary work it is
by no means essential. — C. W. Piper, in British
Journal of Photography.

The Sharpness of Negatives for Enlarging

There is too wide-spread error that the want
of sharpness in the photographic image from very
rapid gelatino-bromide emulsions is caused by
the grain of the plate. It is true that if it is a
question of enlarging an image 150 times, special
emulsions of collodion and albumin must be
employed. With these the grain only becomes
observable with a magnification of 200 diameters,
and at such magnifications it is only with a

THE WORKROOM

highly corrected lens and most precise mounting
of the apparatus that a sharp image can be
secured. In the usual operations of photographic
enlargement, however, a magnification of more
than four diameters is seldom required.

In general terms, fast plates produce images
with a grain less fine than slow plates. When the
emulsion is prepared at as low a temperature as
will insure the dissolution of the gelatin, it is
quite transparent but very insensitive. As the
emulsion is heated to increase its sensitiveness,
it is seen to become more and more opaline, and a
microscopic examination shows that the bromide
of silver flocculates in grains of increasing volume.
There is, however, no necessary relationship
between the sensibility of the emulsion and the
size of the grain, and the majority of manufac-
turers have succeeded, by processes more or less
secret, in preparing rapid emulsions with a
relatively fine grain. For example, among the
products of the Lumiere works, the "sigma"
plate has three times the speed of the "blue
label" plate, and yet the grain of the former is
notably finer and more uniform than that of the
latter. The "violet label" plate has seven times
the sensitiveness of the blue label plate, never-
theless its grain is comparable in fineness with
the sigma plate. The grain of the sigma plate
is minute enough to define details one-fortieth
of a millimetre, and with an enlargement of four
diameters the sharpness of the image will be the
order of one-tenth of a millimetre (about 0.004
inch). In practice, a departure from precise
definition from two to two and one-half times
this value is admissible. It is therefore not in
the grain of the emulsion that the cause of poor
definition in enlarging must be sought, but in the
defects of the optical system and its mounting
and to the treatment of the plate in the develop-
ing process. — E. Constet, in Revue Generate des
Sciences.

Some Useful Varnishes

Matt varnish: (1) Gum sandarac 1| drams,
gum mastic 20 grains, ether 2 ounces, benzol 6
to 10 drams. (2) Gum sandarac 1 dram, gum
dammar 1 dram, ether 2 ounces, benzol 6 to 10
drams. The less benzol the finer the "grain"
of the varnish.

Cold varnish for negatives: (1) Celluloid cut
up into small chips 10 grains, amyl acetate 1
ounce. (2) Dissolve 1 ounce borax in 1 pint of
boiling water, add 4 ounces powdered shellac
and simmer gently for half an hour. Strain
while hot through fine muslin into a bottle.
Let it stand for a week, and decant off clear part
for use.

Negative varnish for hot application: (1) Best
hard white carriage varnish 3 ounces, methylated
spirit 5 ounces. (2) Sandarac 1 ounce, Venice
turpentine 2 drams, oil of turpentine \ ounce,
alcohol or methylated spirit 10 ounces.

Black varnish: Shellac 1 dram, methylated
spirit 1 ounce, lampblack q. s. to creamy con-
sistency.

Dead black varnish: Gold size and lampblack
to consistency of soft cheese. Then add about
eight times the volume of turpentine.

Retouching varnish: 10 to 20 grains of red
rosin, turpentine 1 ounce.

Encaustic varnish for polishing prints: White
wax 30 grains, benzol 30 minims, oil of spike
30 minims. Mix by aid of gentle heat, and
apply with piece of white flannel. — Amateur
Photographer.

Toning Bromide Prints Blue
This may be done by various formulae, but in
all cases it is essential for a good bright result
that the bromide print be fully developed,
thoroughly fixed, and well washed.

Blue Toning Baths: (1) (A) Water 2 ounces,
potass, ferricyanide 8 grains. (B) Water 2
ounces, ammonio-citrate of iron 4 grains. Mix
A and B, and add 10 drops of nitric acid. (2)
(A) Water 2 ounces, uranium nitrate 6 grains,
acetic acid 60 minims. (B) Water 2 ounces,
potass, ferrocyanide 4 grains, ammonio-citrate
of iron 6 grains. Mix A and B. (3) (A) Water
2 ounces, potass, citrate 4 grains, potass, ferri-
cyanide 4 grains. (B) Water 2 ounces, ammo-
nio-iron alum 10 grains, hydrochloric acid 2
minims. Mix A and B.

To Render Plated Camera Fittings Tarnish-
proof

Photographers who are particular concern-
ing the appearance as well as the efficiency of
their apparatus can ensure that all plated parts
of cameras and attendant accessories are rend-
ered tarnish-proof by employing the very simple
but effective method here described. The parts
to be treated should be slightly warmed and
then coated, by means of a fine soft brush, with
a solution composed of collodion thinned with
alcohol. This coating dries immediately, leav-
ing a thin transparent film on the metal; this
film, although invisible, gives complete protec-
tion against atmospheric influences. Should it
be necessary at any time, the coating can
easily be removed by gently rubbing with a
soft cloth dipped in hot water. The idea can
be applied equally well to sterling silver ware,
and might be found useful to photographers,
who, being the fortunate possessors of silver
plaques or medals, wish to display them to the
best advantage without the trouble of frequently
cleaning them with plate powder or liquid polish.
— Amateur Photographer.

Waterproof Cement for Glass
Dissolve 50 grains of gelatin in about 1
ounce of water and then add 10 or more grains
of acid chromate of potassium. If this solution,
freshly made, is applied to the two edges of a
break, the pieces bound together for a few hours,
meanwhile being placed where the sunlight can
act upon it, a perfect mend will result. The
fracture will be hardly noticeable, and even hot
water will have no effect upon the cement. —
E. T. R. in Camera Craft.

A Quick Way of Washing Small Roll-film
Negatives
The other day the writer was desirous of
washing a strip of roll-film negatives taken with

THE WORKROOM

a small pocket camera as quickly as possible,
and the following idea was hit upon: the strip
of film was taken from the fixing bath, and held
film side up, one end of the strip in the right
and the other in the left hand, under the tap
so that one end was considerably lower than
the other. A rapid stream of water from the
tap was then allowed to flow down the entire
length of the film, starting at the top immedi-
ately under the tap. The film was held so that
it was hollow in the centre, thus allowing a
better passage for the water. After five minutes'
fast washing as described above, the drainings
of the film were allowed to drip into a solution of
permanganate, and indicated that no hypo was
present. The above method is of especial value
at the present time when most of us are busy,
and shortens considerably the uninteresting
business of washing. — Amateur Photographer.

Clean Dishes

Clean dishes are essential for good work.
Dirty dishes, graduates, etc., are the chief
factors in most spots, stains, etc., both on plates
and paper. Make a mop by tying a piece of
loofah to a piece of firewood. With this clean
the dish with strong cheap hydrochloric acid,
sold cheaply as spirits of salt. Rinse out with
water, and give a final polish inside and out
with another piece of loofah and a rub of sapolio.
— Amateur Photographer.

Eyes

If your sitter's eyes are rather small, then it
will be advisable to select some poses in which
the eyes may be turned slightly upward. If,
on the contrary, the eyes are large and staring,
as though they had been pushed forward, then
a downward look will be more becoming. If,
again, the eyes are deep set, as it is called — i. e.,
giving one the idea that they had sunk some-
what into the sockets — then the pose should be
pretty near about full face, and the eyes turned,
not directly toward the lens, but to some object
near the camera. — Amateur Photographer.

Waste

More terrible than waste of money is waste
of power. Carelessly we sacrifice our health, our
very lives. Sickness is a result of waste of our
power of resistance, an evidence that we have
failed to heed the laws of health.

Fight the waste of time! Some of us have
more money to waste than others, some have
more health to spend, but we all have twenty-
four hours a day which no one can take from
us. No one? No one but waste! With the
whole golden twenty-four hours at our com-
mand we fritter away minutes making up our
minds, we lose hours in thoughtless conver-
sation, we waste incalculable time looking back
when we should look forward.

Last of all is the most criminal form of
waste — the waste of opportunity. When a
chance comes to do even some trifle that will

help us on our way up, we refuse to exert
the extra ounce of energy necessary to grasp
our chances. When the opportunity knocks
at the door, we tell her, "I'm too busy to see
you, come back later." It's waste of oppor-
tunity that is holding you down!

Whatever form waste takes, fight it. Pro-
tect your money, your power, your time, your
opportunity from waste! When you have
learned to conquer waste you have learned the
lesson of success. — Service.

Magnifiers

Magnifiers should be used as near to the
camera lens as is practicable.

With a fixed focus camera the lens of which
is set at infinity, the focus of a supplementary
lens to bring any near object into focus will be
the distance of the object. Thus to photograph
a still life group three feet from the camera will
require as magnifier a positive lens of 36 in.
focus.

Magnifiers used on a fixed focus camera do
not alter the f numbers of the stops.

Under this heading it is proposed to include each
month a list of all the U. S. Patents; and brief
abstracts of the more important, and to include alsa
such foreign patents as present special features.

Copies of any patent can be obtained from the
Commissioner of Patents, Washington, D. C.
Price, five cents each.

M. P. and Phonograph Records. K. Madaler.

1204091.
Etching Plates. J. J. C. Smith. 1203802.
M. P. Color Filter. Zollinger and Mischorisniky

1203681.
Projector. F. A. Hardyman. 1204272.
Camera. H. J. Gaisman. 1203603.
Enlarger. G. R. Watson. 1204098.
Printing Frame. E. C. Scudder. 1203917.
Roll Holder. J. S. Greene. 1204011.
Slide Carrier. W. C. Tohnson. 1203744.
Shutter. W. N. Bartlett. 1205079.
Shutter Release. F. W. Smising. 1204509.
Film Cleaner. Singleton and White. 1205039.
M. P. Projector. M. C. Hopkins. 1204771.
M. P. Screen. A. T. Jocobsson. 1204775.
Projector and Screen. A. D. Brixey. 1204001.
M. " P. Projector. F. Norte. 1204585.
Shutter Release. F. L. Scott. 1205486.
Renovating M. P. Film. A. P. H. Trivelli.

1205822.
M. P. Synchronizer. J. W. Billing. 1205427.
M. P. Film Cleaning. 1. Tessier. 1205583.
M. P. Film. J. A. MacBride. 1205367.
M. P. Machine. W. H. H. Knight. 1205548.
M. P. Printer. J. Tessier. 1205582.

NEW SERIES < WILSON'S PHOTOGRAPHIC MAGAZINE

THE PHOTOGRAPHIC
JOURNAL OF AMERICA

THE OLDEST PHOTOGRAPHIC MAGAZINE IN A MER IC A

The Double Cross

for the

Amateur Photographer
and Cyko

A photographic dealer writes
as follows:

'The finisher who does our work
cannot any longer continue to use
CYKO Paper on account of the in-
crease in cost of chemicals and labor,
and he intends to substitute a cheap
brand of paper.

"Our finisher prefers to keep work-
ing with ANSCO products to fulfill
the promises made in his advertise-
ments as regards quality."

The list price of CYKO is the same
today as before the war, although raw
materials have doubled in price.

Can you beat it?

Ansco Company

Binghamton, N. Y.

By E. L. MIX

NEW YORK

PRESIDENT PROFESSIONAL PHOTOGRAPHERS
SOCIETY OF NEW YORK

PHOTOGRAPHIC
< JOURNAL-
'S^ AMERICA '

VOLUME LIV

FEBRUARY, 1917

NUMBER 2

COMPOSITION AND ARRANGEMENT

THERE is one subject which will al-
ways furnish an interesting line of
thought for either the professional
or amateur photographer. It is a sub-
ject that may be treated by many
writers, each giving his views with clear-
ness and succinctness; it may be studied
by the majority of readers of photo-
graphic literature, but from the examples
of work seen every day, it is still neces-
sary to urge photographers on to greater
efforts in regard to composition and
arrangement.

It is a mistake to think that out of the
ordinary everyday family who come to
the studio to be photographed an ideal
picture can be made, or that twenty or
thirty persons who have associated with
each other for a short time, such as we
find in schools and clubs, can be made
to furnish material for or enter into the
spirit of an ideal artistic composition
such as the photographer may have in
his mind; nor is it within the bounds of
possibility for any artist to make a prize
picture from such a combination of per-
sons. The subjects for a group which
has for its object the illustration of some

story, poem, or whatever other romantic
idea the photographer may have, must
enter into the spirit of his theme, they
must be trained not only in expressing
the attitudes which are necessary to
explain the story, but they must also
give expression in their countenances to
whatever thoughts the story may sug-
gest. What would be the effect of a
picture where the attitude denotes life,,
action, energy, everything that goes to
illustrate a story of active and daring
adventure, if the face could not express
the feelings which we imagine should be
felt by a person in such a position? It
would, most undoubtedly, be flat, unin-
teresting and absurd. I have seen in
many photographs evidence of this want
of feeling and harmony of expression;
while the attitude told you a story, the
face belied it.

If we look at the works of celebrated
artists we will see that the face and atti-
tude express the same idea. Love, hate,
fury, despair, fear, horror, illuminate,
sadden, or distort the countenance and
help with clearness and force to bring
the story of the picture vividly before

(47)

COMPOSITION AND ARRANGEMENT

!Y E. L. MIX, NEW YORK

our minds, while the attitude speaks,
as it were, and gives greater effect to
the whole. Take, for instance, one
of Meissonier's paintings, ''The Sign
Painter," in the Metropolitan Art Mu-
seum. A reviewer says: "The scene is
altogether a transcript from a past gen-
eration. If we remark the expression
of these men (the cavalier and sign
painter), we see characteristics which
reflect their inner and true personality.
What amiable self-complacency is be-
trayed in the satisfied air with which the
sign artist awaits the cavalier's verdict
upon his work, and how consummate is
the cool criticism on the part of the
latter. We should not know where to
look for a counterfeit presentment of
man that approaches to nature herself
than this unimpassioned inspector of the
tavern sign. He is real to the very
creases in his boots and the buttons on
his coat." Can the glowing description
of the poet or the realistic language of the
tragedian clothe a scene with more ex-

plicit meaning than the pencil of the
draughtsman, the brush of the painter,
or the camera of the photographer? A
mere description can never equal or
appeal to us as strongly as when we see it
before us in a picture. The painter has a
greater advantage over the photographer
in being able to dispense with any ob-
jectionable detail that might destroy the
beauty of his subject. As a celebrated
writer observes: "The details of the
prose of nature he omits and only gives us
the spirit and splendor. In a landscape
he will give us the suggestion of a fairer
creation than we know. He knows that
the landscape has beauty for his eye be-
cause it expresses a thought which is to
him good, and this because the same
power wrhich sees through his eyes are
seen in that spectacle; and he will come
to value the expression of nature, not
nature itself, and so exalt in his copy the
features that please him. In a portrait
he will inscribe the character and not the
features, and must esteem the man who

By E. L. MIX

NEW YORK

COMPOSITION AND ARRANGEMENT

tY E. L- MIX. NEW YORK

sits to him as himself only an imperfect
picture or likeness of the aspiring original
within."

The photographer must be satisfied
with nature as he finds it; wrhether it is
frowning or smiling, he must be content.
Therefore if the subject is not in entire
harmony with his ideas, if he does not
enter into the spirit and give his thoughts
entirely toward carrying out whatever
story the picture is intended to illustrate,
the result will be a failure. I would,
then, say to the photographer, be satis-
fied with representing the character of
your group and refrain when you have
but indifferent material from trying to
adorn a moral or point a tale. It is also
well to remember that a long course of
study is as necessary for the photog-
rapher as it is for members of any other
profession. The greatest painters, poets,
and writers study the works and profit
by the experience of men who lived in
by-gone years. They would not, or
could not, reach the highest point of

perfection if they had not done so. The
works of men who lived away back in
the ages which we call barbarous are
eagerly devoured, and the creations of
their hands and brains are studied by
the great men of this and other genera-
tions, and why? Simply to gather ma-
terial for the foundation of works which
they expect to create. There are rules
and reasons for everything, and unless
men train themselves to go strictly ac-
cording to the rules that govern their
work and find out the reasons why such
rules are applied to it, they cannot ac-
complish much, they will be toilers in the
dark, stumbling and groping to the end.

At the present time, when the works
of the greatest artists are faithfully re-
produced and explained, it is easy for
every photographer to study them and
gain very great benefits from doing
so.

The paintings and illustrations of an-
cient and modern times are collected and
put in convenient shape by the pub-

By E. L. MIX

NEW YORK

SERVICE AND THE COMMERCIAL PHOTOGRAPHER

!Y E. L. MIX, NEW YORK

Ushers of photographic works, together sary for the photographer to know,

with criticisms and explanations by cele- Study the works of others, master their

brated art writers; these will be found details, then give life to your own

to contain many things which are neces- thoughts.

SERVICE AND THE COMMERCIAL
PHOTOGRAPHER

By G. D. CRAIN, Jr.

PHOTOGRAPHY is an art, and
therefore one is safe in assuming
that the photographer of ability
must be an artist.

On the other hand, the commercial
photographer is dealing with commercial
conditions and commercial men, and in
order to make good in that field he
must adapt himself and his methods
to its peculiar and severe requirements.
The business man of today is forced
by his customers to give service in all
that the word implies, and when he
goes into the market to buy anything,
whether it is a carload of lumber or
half a dozen 7 x 10 photographs, he like-
wise is looking for top-notch service;

and in many cases quality of the work,
not backed up in this way, will not win
the appreciation and the price com-
manded by reasonably good work and
service that is beyond criticism.

Now, before going any further, it
may be well to stop and consider some
of the things suggested by service in
connection with commercial photog-
raphy. What is meant by service,
and what must the photographer who
is anxious to provide it do, in order to
feel that he has done everything that
in reason should be asked of him?

First and foremost, service in busi-
ness demands promptness.

The business man who is buying

SERVICE AND THE COMMERCIAL PHOTOGRAPHER

photographs, and is promised them for
a certain hour of a certain day, expects
to have the photographs at that time
or know the reason why. The photog-
rapher may have a beautiful set of
excuses — his customer would probably
refer to them as "alibies" — but they
will not pass muster, because the
buyer is not interested in. "reasons
why," but in getting the work — in
getting service.

!Y E. L. MIX. NEW YORK

The work must be done according
to instructions. Once having told the
camera man what to photograph and
how, the customer expects that the pic-
tures will indicate that these instruc-
tions have been carried out to the letter.
If the photographer has departed from
them, even with some show of reason,
he is going to have a hard time making
good on the matter of service, because
the first thing the customer will have
looked at is the details which he expected
to be developed by reason of his special
instructions along this line.

Now, it should be remembered that
the average business man is not an
expert on photography. That is what
makes the situation all the more diffi-
cult for the picture man. The concern
which is dealing with amateur photog-
raphers, handling their developing and
printing, has the advantage of being able
to meet its customers on its own ground
and to explain all of the conditions in
technical terms. The photographer who
is doing portrait work is in a distinctly
art field, where the requirements for the
best results, from an artistic standpoint,
are given precedence over everything
else.

But in commercial photography
everything that is demanded is results.
Excuses are not legal tender, and
failure to carry out instructions is an
unpardonable sin.

The element of time is all-important.
Much commercial work is done with
a certain time limit in view. This
applies, of course, to news pictures
more definitely than anything else,
but it usually figures in a great many
other cases. The customer wants to
get pictures of his new line of samples
made in time to catch a certain impor-
tant customer at a certain city where
his salesman is working; the lawyer is
anxious to have a picture made for use
in a case, work in which is being held
up awaiting its development; the trade
journal is holding an edition for a
picture with which to illustrate one of
its leading articles, and so on. If you
ever realized the value of time, it is
when you are making a commercial
picture which is to play its part, possi-
bly, in swinging a deal or deciding a case
involving thousands of times the value
of the plate.

The photographer may explain that
there are conditions over which he has
no control; that the weather is going
to determine his ability to expose his
plates under favorable conditions, and
that other elements may develop to
delay the completion of the work.
That being the case, then, he should
either have a definite understanding on
this score with his customer or he
should make a special effort to oxer-
come unfavorable conditions.

SERVICE AND THE COMMERCIAL PHOTOGRAPHER

It is, of course, true that equipment
is being devised constantly with the
object of enabling the photographer to
disregard natural conditions to a larger
extent than formerly, and the commer-
cial worker, most of all, needs these
aids, because, as suggested, his custo-
mers are less likely to regard as valid
excuses for failure to produce the work
on time, based on weather con-
ditions.

The point to be borne in mind, how-
ever, is that if promises are made, those
promises should be carried out if it is
humanly possible. It is far better not
to make a promise, and then to deliver
the picture at the time desired, than
to agree to get the pictures out at a
certain time, only to fall down. In one
case the customer will be delighted at
the appearance of the finished work
ahead of the time expected ; in the other,
he will be disgusted at the failure of the
photographer to make good. It goes
without saying that the first photog-
rapher will establish a reputation for
service and the other will lose it.

If there is any doubt about the
ability of the concern to deliver photo-
graphs at the desired time a qualifying
clause should be used, so as to protect
the photographer. "We will do the
best we can, but we cannot promise
them at that time," would save the
face of many a worker who, because of
some untoward weather or other condi-
tion, finds that he must delay delivery
of photographs. He wanted to please
his customer, and so he promised;
result, his own discredit and the dis-
pleasure of the buyer.

Another important point is that if
the photographer, after agreeing to get
the work out at a certain time, finds
that he is not going to be able to do so,
he should by all means notify the
customer and ask for an extension of
time.

You have no idea how much better
that is, from the stand-point of the
photographer, than to wait until the
customer, who possibly has been going
ahead, counting on the delivery of the
work at the agreed hour, calls up only
to learn that the pictures have not been
finished.

If the photographer, anticipating his
inability to complete the work, tele-
phones the buyer and explains the
conditions, asking for an extension of
time, he will get it willingly nine times
out of ten and the customer will be
impressed with the business-like char-
acter of the concern with which he is
doing business. Likewise, he will make
his own plans accordingly, and his
inconvenience, due to the non-delivery
of the work, will be minimized. It is
the disregard of the photographer for
the interests of others, shown by a
failure to notify when work is delayed,
that "puts him in bad" with customers
and makes them register mental vows
never to do business with them again.

There is a certain commercial photog-
rapher who is conceded by many to be
an exceptionally good man, technic-
ally speaking. But he is all technic.
He regards the conditions of his work
and the work itself as much more impor-
tant than the practical use to which it
is put. In other words, the artistic
demands of the photograph are para-
mount with him, and unless he feels
that the picture is going to be perfect
he will not attempt to produce it.
Now, this is all very fine from one
stand-point, but from the stand-point
of bread and butter it does not work at
all. He has disappointed scores of
people who have given him orders by
not being able to supply the photo-
graphs at the time wanted, and the
result is that he has never been able
to advance beyond the preliminary
stage, as far as volume of his work is
concerned. He has a lot of artistic
satisfaction in everything he does, but
commercially speaking he is a failure.

In regard to the matter of carrying
out instructions, the important thing
is to notify the customer regarding
the necessities which have imposed the
change upon the photographer. As
suggested above, most buyers are
reasonable people, and if conditions
are explained to them they will usually
acquiesce without trouble. The thing
that puts the photographer in a bad
light is going ahead in apparent disre-
gard of instructions and doing the
work the way it was not to have been

DIRECT POSITIVES ON BROMIDE PAPER

done, that hurts. Getting an O. K. on
a suggested change is one thing, and
postmortems and explanations after-
ward, when the finished pictures are
presented (together with invoices), are
others.

Good service, of course, involves
handling the office end of the work in
a business-like, orderly way. Lots of
photographers seem to be so busy with
the mechanical details of their work
that they are unable to attend to the
proper entry of orders and the proper
record of delivery of work, receipt of
payments, etc. A photographer went
into the office of a customer not long
ago to solicit business, having nothing
definite in view, and was embarrassed
at the question of the customer regard-
ing a print ordered several weeks before
at a chance meeting on the street.

"I forgot," was all the photographer
could say; and certainly this was not a
good introduction to a solicitation for
more business, for if he was not enough
of a business man to remember or
write down orders given him there was
not much inducement for the customer
to place other business in his hands.

There are other little points in con-
nection with the service expected by
business men — just as neat and attrac-
tive packing of finished work, delivery
by messengers or errand boys hired by
the photographer, etc. — but the things
mentioned are the big features. If the
commercial photographer who wants to
succeed will give his customers service
in those respects he will soon find that
he is in demand everywhere, and that
his customers are advertising him to
their friends.

DIRECT POSITIVES ON BROMIDE PAPER

FOR rapidly copying documents,
articles in journals, line drawing,
etc., a direct photograph on bromide
paper is very satisfactory if the photo-
graph is made through a prism to avoid
reversal. A well-known example is the
use of the Photostat machine, in which
the operations of development and fixing
are performed automatically after ex-
posure in the camera, the paper being cut
off from a roll so that a great number of
photographs can be taken in succession.
This method, of course, produces a nega-
tive, and for much work a negative has
no disadvantages. On most occasions,
however, a direct positive is desirable,
and such positives can be obtained on
the bromide papers used for copying
work by two different processes.

The first method is the well-known one
whereby the developed but unfixed print
is bleached out in an acid permanganate
bath and the residual image of silver
bromide exposed to light. This, on de-
velopment, gives a positive black-and-
white image. Good results are obtained
by observing the following instructions:

The exposure must be sufficient so
that development is complete in about
two minutes, using the developer recom-
mended for the particular paper used.
After washing the print for five minutes
it must be bleached by bathing for one
minute in the following bleach bath:

Potassium permanganate
Sulphuric acid (strong) .
Water

30 gr.

150 min.

32 oz.

Rinse and immerse in a dilute solution of
sodium bisulphite to remove the brown
stain, working in full daylight, and rinse
and develop in the developer first used ;
then fix and wash in the usual way.

Any slight stain that remains in the
print can be removed by bathing in a
weak solution of potassium cyanide,
being careful to take the print out the
moment the stain disappears, or the
silver image itself may be attacked.

A second method, worked out in the
Research Laboratory of the Eastman
Kodak Company, calls for developing in
the usual manner, converting the unex-
posed silver bromide into silver sulphide,

DIRECT POSITIVES ON BROMIDE PAPER

and then removing the residual silver
image, leaving a positive image of silver
sulphide.

The exposure may be made in an ordi-
nary plate-holder, keeping the paper flat
with a sheet of clear glass, and must be
adjusted so that development is complete
in two to three minutes in the following
developer at 70° F. :

Elon 8 gr.

Hydrochinon 150 gr.

Sodium sulphite, 3 oz. . 100 gr.

Sodium carbonate, 3 oz. . 100 gr.

Potass, bromide .... 50 gr.

Water 32 oz.

This developer wTill keep well.

It is evident in view of the fact that
this developed silver image is subse-
quently removed, leaving a clear white
background, that all the exposed silver
bromide must be reduced to silver dur-
ing development, or the highlights of the
final positive will be stained or fogged.
On the other hand, if the print is over-
exposed in the first place, spreading may
take place and fine lines will be lost.

After development a rinse only is
needed before the print is put into the
darkening bath, where it remains for two
minutes at 70° F. when the unexposed
silver bromide is converted into sulphide.
The bath is made up of

Sodium sulphide (crystals), 1 oz. 330 gr.
Water 32 oz.

It will be safer to bring this solution to
the boiling point and allow to cool before
using, in order to precipitate the iron
present. The final color of the print as
well as the degree of contrast will depend
on the strength of this bath, which may
be used almost indefinitely. A weaker
solution will give yellowish-green tones,
but if the above strength of the solution
is maintained almost black lines are ob-

tained. Rubber finger-tips should be
worn as the solution may affect the
finger nails.

The print, after a few seconds' wash-
ing, should be placed in the following
bleach bath until the highlights are per-
fectly clear, which will occur in about
three or four minutes:

Potassium ferricyanide .
Ammonium sulphocyanate
Water . . . . .

11 oz.
11 oz.
32 oz.

The temperature of the bleaching bath
is important. It may run from 65° to
75° F., but it should not go beyond this
or the silver image may be attacked and
the bath is liable to decompose. The
bath ripens with age and works best
when it has turned a greenish color.
Ammonium sulphocyanate may be re-
placed by the- potassium salt without
changing the action.

In view of the fact that ammonium
sulphocyanate dissolves silver bromide,
the print is automatically fixed during
bleaching. After bleaching, the print
should be well washed for five or ten
minutes and dried as usual.

The finished print will have a slightly
yellowish cast in the highlights, which
can only be removed by continued use of
the ferricyanide bath, which is not de-
sirable. Local yellow stains are due to
the presence of silver bromide along with
the silver image previous to sulphiding.
It is important, therefore, to prevent
this by correct exposure and full devel-
opment. At all stages of the process the
print must be agitated to prevent stains
caused by uneven action of the baths.

In actual practice the process takes
very much less time than is taken to
describe it. Not more than twenty
minutes are needed to carry it through,
including the developing, sulphiding,
bleaching, and washing.

Quick Proof from a Wet Negative.
A correspondent suggests the following
method: After fixing and washing the
negative, it is hardened in formalin or
alum, again rinsed for a few moments,
and then the moisture removed by dab-
bing with a piece of clean soft rag. The
negative is now put in an ordinary pres-

sure frame; over it is laid a sheet of thin
celluloid, then comes the bromide or
gaslight paper. Thus, between the dry
paper and wet negative film is an iso-
lating layer of thin transparent celluloid
which keeps the paper dry, and also pro-
tects the wet film of the negative from
injury.

ON TONE AND VALUES1

By SADAKIGHI HARTMANN

(SIDNEY ALLAN)

WE live in a tonal era. Every
photographer aspires to it more or
less. In Sarony's time, detail was
the ambition and ideal of the professional
photographer; today, it is the harmoni-
ous appearance of a print.

What is tone? Opinions, I fear, will
differ largely. Trying to convey it in a
few words, I would say: A pictorial
representation in which all light and dark
planes, all middle tints and gradations,
from the darkest spot to the lightest
light, are arranged in such a manner that
they form an harmonious tint, in which
nothing is obtrusive or offensive to the
eye. A picture is "in tone" when it
accomplishes this. Also, the painter will
agree on this point, with the difference
that he applies color notes instead of
monochrome tints.

In order to realize a perfect tonality
the values have to be correct. Values
is an oft-misquoted word. It means
nothing more nor less than the relations
of the tonal gradations (of the various
objects represented to each other).

Look, for instance, at the painting en-
titled "The Engraving," by Ambrose
AlcEvoy (Fig. 4). In this picture the
table-cover, the shimmer of the picture
frame, the lady's dress, the color of her
hair, the carpet, and wall paper, all had
to be considered and arranged in such a
manner that nothing would stand out too
boldly. The painter was successful in
subduing all minor interests to the prin-
cipal figure without losing too much of
the detail. This is what the writer of
these lines considers a good example of
tonal arrangement.

Tonal composition consists largely of a
right sense of proportion, to understand
the beauty of different degrees of tonal-
it}", the relation of tone in regard to size
and shape against each other, and to
bring all these possibilities into full play
in each new effect. And this is largely

1 From "Composition in Portraiture."

a matter of feeling, as the problem is a
new one with every sitter. Just as the
texture and complexion of the skin and
hair, and the construction and expression
of the face and head and neck, not to
mention the color of the eyes and lips and
the clothes, are different in every sitter,
so the problem is a different one with
every new exposure.

Few photographers nowadays apply
as many distinct tonal variations as
are in this picture. Formerly it was the
fashion. When Davis and Sanford were
at their prime, their gray platinum prints
showed from sixteen to eighteen middle
tints. They avoided black entirely. The
result was that their prints gave the
impression of a soft, refined gray, with
any amount of subtle variations in the
detail.

Our present convention pictures show
that most men are satisfied with a simpler
differentiation of values. It will be
difficult to pick out in most pictures
more than six or seven distinct tonal
planes. The extreme tonalists, like the
Secessionists, even go so far as reducing
them to two or three tints. In many
of Coburn's portraits you can trace only
an exceedingly light tint and two middle
tints. And in many of Kasebier's and
Steichen's, and some of our advanced
professionals, when they try to do the
' ' artistic trick, ' ' you will find two or three
flat tints in the face against an opaque
background. They have fallen into the
common error of mistaking darkness and
monotone effects for tonality.

Tonality is possible in any shade from
black to white. Fig. 10 is as good an
attempt at tonality as Fig. 11. It is,
however, difficult to convince people of
this fact. The present trend, however,
is for dark-toned pictures, and as the
same laws apply to all tonal compositions
I have chosen pictures of a dark tonality
for my analysis.

Figs. 1 and 3 are both photographically
possible. They are both what I would

(57)

1. "PORTRAIT OF MADAME B"
BY JULIUS STEWART

3. "MR. A. J. CASSETT"

BY MILTON LOCKWOOD

4. THE ENGRAVING"

BV AMBROSE MCEVOY
2. "FANTASY"

BY P. G. ^TERRAS

ON TONE AND VALUES

6. FLOWER GIRL"

BY SIR JOHN M1LLAIS

7. "MAX KLINGER"

BY N. PERSCHEtD

8- PORTRAIT"

BY W. WEIMER
5. "BARON LAMBERMONT'

BY EMILE WAUTERS

call five-tone arrangements. Maybe
some will count six tones, but there is
no use of splitting hairs. In the portrait
of Mme. B. you have the fine contrast of
the dark dress and the flesh tints. This
makes two. Then there is the gray tint
of the hair, which is repeated in the fan.
You will notice that this same tint also
produces the shadows on the arm and
neck, the embroidery of the dress, and
some parts of the background. Besides,
there is a fairly dark tint which makes up
the largest part of the background and
the highlights on the flesh tints. This
makes five tones, and they are very ju-

diciously used, as they produce a decided
contrast. In Fig. 3 you will find the
same, only the tones are nearer related to
each other and used with less variety in
the juxtaposition. The result is that the
portrait of Mr. Cassatt is more monotone
than the other.

In Fig. 2, a photograph, we have four-
tone arrangements. A flat middle tint
all over the neck and face, with a vague
shimmer of highlight, a dark bust, and a
monotone background.

In Fig. 6 we have a picture that is ''out
of values." It may be different in the
painting itself, but there is no doubt that

ON TONE AND VALUES

9. SELF-PORTRAIT

BY E. SCHNEIDER
12. PORTRAIT STUDY

BY A. OFFNER

lO. "ANTOINETTE"

BY VON GLEHN

13. "BISHOP MALDENS'
BY RUBENS

11. PORTRAIT

BY N. PERSCHEID
14. PORTRAIT GROUP

BY A. GOTTHEIL

the effect is restless and confusing in the
reproduction. The eye wanders about
and is fastened on no point in particular.
This is one sure sign whenever the values
are incorrect. Another is, if the eye goes
at once to one point which should not
be the principal attraction. In the por-
trait of the boy (Fig. 8) the collar is too
prominent and the flesh tints of the boy's
face a trifle too dark. The tonality
suffers thereby. In the portrait of Max
Klinger (Fig. 7) it is not so much the
collar as the ear. In Fig. 5 neither the
hands, the books, nor the back of the
chair are in tone. A painter may pos-
sibly render this diversity of objects in-
teresting in color, but it would be difficult
for a photographer.

Simplicity and omission of unnecessary
accessories will be the best helpmates to-
ward accomplishing tonality in ordinary
photographic portraits, such as most
people demand. Lack of tonal grada-

tions seems to me just as unwise as the
multitude of shades and tints of former
years. Figs. 11 and 14 represent ex-
cellent tonal arrangements, but they are,
after all, a trifle dull for portraits. In
Figs. 9, 12, and 13 there is more con-
trast, more juxtaposition of light and
dark, and, for that very reason, more
life, more vitality. The picture grows
in interest.

I cannot repeat often enough that it is,
after all, the face which we want most in
a portrait. In the flat-tone treatment all
the beautiful modelling is lost. In the
Ruben's portrait (Fig. 13) we have model-
ling first of all, the tonal variation is
largely in the face, the subtle tints melt
almost imperceptibly into each other,
and yet show the construction, the text-
ure of the face, and the character of the
man. And yet the picture is perfect in
tone.

PRODUCING PHOTOGRAPHS IN BLACK
SULPHIDE OF SILVER

By "CHEMIST"

IT is well known from a chemical
stand-point that the sulphides of sil-
ver are bodies that possess great
permanency. Silver, being a metal that
readily combines with sulphur, produces
two sulphides, one a brown and the other,
the principal one, a black, represented
chemically Ag2S. This body is found
when sulphuretted hydrogen is passed
through a solution of nitrate of silver.
The precipitate that is found is a very
intense black powder which is found to be
almost unchangeable, yielding only when
submitted to an intense heat. It has
been remarked many times that if photo-
graphs could be produced in black sul-
phide of silver such pictures would rival
platinum for permanency. It is in-
tended here to show how portraits or
views or the copies of engravings can be
produced in black sulphide of silver.
Any subject drawn in line can be repro-
duced properly, every dot or mark, short
lines, and every mark set in a picture by
the engraver can be rendered with perfect
fidelity, while in portraiture the drapery
and half-tones show up in a manner that
differs from any other silver process.
Some years ago a process known as the
collodion transfer process was brought
into use to a very large extent. The
image was made upon a clean washed
sheet of glass, developed with a solution
of pyrogallic and citric acids, fixed in a
solution of hyposulphite of soda, well
washed, then transferred to a sheet of
stout, smooth paper by means of a gela-
tinized surface. The paper was squeegeed
down upon the collodion image, with
the gelatin solution intervening. It was
then allowed to dry, after which it could
be lifted from the plate with the collodion
image adhering. This kind of portrait
formed an excellent basis for painting
upon in oil colors, and at one time was in
great demand. To obtain pictures in
sulphide of silver it will be necessary to
work upon somewhat similar lines, al-
though in one method to be described the
silver mav be entirelv removed from the

glass plate, then transferred to paper,
either in the usual position or reversed.

It will be necessary in the first place to
provide the necessary utensils and appli-
ances. These are not at all expensive,
and when once set up pictures may be
produced with ease and certainty. The
process being worked with wet collodion,
it will be necessary to provide a glass dip-
ping bath to contain a solution of nitrate
of silver, also a dipper upon which to rest
the plate when it is lowered into the
nitrate of silver solution. The glass dip-
ping bath and dipper can be readily ob-
tained at any large photographic stock
dealer's. A list of the necessary material
is given herewith to enable any one de-
sirous of practising the process to com-
mence right and be sure of success from
the commencement.

List of Materials, Chemicals, and Utensils
Necessary

Three dozen sheets of double transfer
paper.

Half a pound of nitrate of silver, c. p.

Two pounds protosulphate of iron.

One pound photographic alcohol.

One 8 x 10 glass dipping bath and
dipper in wood case.

One pound sulphuric ether, sp. gr. 720.

One ounce pyroxiline.

One ounce castor oil.

Half pound India-rubber cement.

Half a pound of "benzole."

Half pound sulphide of ammonium.

One gallon distilled water.

Half pound iodized collodion.

Two ounces nitric acid, c. p.

One pound acetic acid.

Two dozen pieces of plate glass from
4x5 to 8 x 10, about three thirty-seconds
of an inch in thickness.

Half pound strong water ammonia.

Half a pound of sulphate of copper.

Four ounces of bromide of potassium.

One ounce white wax.

One glass funnel (plain), 6 inches diam-
eter.

(61)

62 PRODUCING PHOTOGRAPHS IN BLACK SULPHIDE OF SILVER

One glass funnel (plain), 3 inches diam-
eter.

Half pound absorbent cotton.

Two dozen filter papers.

One hydrometer, for testing the nitrate
of silver and other solutions.

Having the above material, etc., at
hand, make up enough silver solution
with nitrate of silver and distilled water
to nearly fill the dipping bath, which will
probably be about thirty-five ounces fluid
measure. When the nitrate of silver is
dissolved (which should be about three
and one-half ounces), test the solution
with the hydrometer. The strength
should be from 35 to 40 upon this instru-
ment, which means thirty-five to forty
grains of nitrate of silver to one fluid-
ounce of distilled water. Having made
up this solution in a clean bottle, add one
fluidram of c. p. nitric acid. Then shake
the bottle well. This sensitizing bath
must be very acid, so that extremely
clear transparencies or diapositives may
result. Just as soon as the solution has
been acidified clean out the dipping bath
well, then pour into it the silver solution
just prepared. Now coat a clean glass
plate, 5x7, with the iodized collodion.
The coating is done by pouring a small
pool of the collodion upon the middle of
the plate; then, by tilting the plate until
the collodion has flowed to each corner,
drain the excess back into the bottle.
Allow the plate to stand for half a minute,
then place it upon the dipper and lower it
into the nitrate of silver bath. The plate
must remain in the bath, say, all night.
This is to allow a small quantity of the
iodizing salts to dissolve into the silver
solution. The next day the plate must
be removed. The silver solution is now
ready for use. This bath must be left
covered when not in use. Now prepare
the following collodion and mixing solu-
tion, which is to be used especially for
this particular work:

Stripping Collodion

Alcohol (photographic) 3 oz.

Pyroxiline (gun cotton) 25 gr.
Sulphuric ether (720) 3 oz.

Castor oil 18 drops

Add the pyroxiline to the alcohol, then
the ether, when, after well shaking, add
the castor oil.

Waxing Solution

Sulphuric ether .... 2 oz.
White wax 20 gr.

Cut the wax into thin shreds, add to
the ether. Cork the containing bottle
tightly. Shake the mixture until the
wax has become dissolved. Label the
bottles containing the above preparation.
1 ' Stripping collodion ' ' and ' ' waxing solu-
tion." Mix in another bottle two ounces
of rubber cement and three ounces of
benzole. Be sure that the benzole em-
ployed is what is known as coal-tar
benzole, not the benzine made from
petroleum. The solvent action of the
tar benzole, the true CeH6, is infinitely
superior to the other. This may be set
aside ready for use after thorough ad-
mixture. Now make up the following
solution for developing and intensifica-
tion of the image:

Iron Developer

Protosulphate of iron . \ oz.

Distilled water 16 oz.

Acetic acid . . ... \ oz.

Alcohol (photographic) . \ oz.

For intensification make up a stock
solution of ten or twelve ounces of sul-
phate of copper in one bottle, of the
strength of 70 on the hydrometer. Also
a solution of bromide of potassium regis-
tering 35 on the hydrometer. These
solutions will keep indefinitely if kept in
separate bottles. The developer will act
at its best when a day or two old. Thor-
oughly clean all the glass plates by wash-
ing them in a warm solution of common
washing soda. Rinse them under a
faucet, place them in an acid bath com-
posed of muriatic acid, one ounce to
water forty ounces. Make up a mixture
of the albumen of one egg to thirty-two
ounces of distilled water. Filter the
same after adding one dram of stronger
water ammonia. Pour some of this into
a four-ounce graduate; then take the
plates one by one, rinse them under the
faucet, drain for a moment, and pour a
small quantity of the albumen mixture
over the plate. Drain off the excess,
then place the plate in a clean rack to
dry. In preparing these plates see that
the albumen is poured over the smooth
surface, which is almost invariably that
opposite the one over which the glass

PRODUCING PHOTOGRAPHS IN BLACK SULPHIDE OF SILVER 63

cutter ran his diamond. About half the
number of pieces of glass plates may be
prepared in this way, then placed aside
for use. The remainder of the plates, or
as many of them as may be required for
immediate use, must be prepared as
follows:

Waxing the Plates. Clean well the
plate intended for use by draining off all
the moisture, then rub dry with a piece of
clean white rag. Take a piece of rag,
fold it up into a little bunch by bringing
the four corners together. Moisten the
centre with a small quantity of waxing
solution, then rub this well all over the
face of the glass plate. Polish the plates
off with a clean rag. Place them in such
a way that their waxed surfaces are pro-
tected from injury.

The glass plates now being ready, pro-
ceed to make a picture for direct transfer
from the glass by coating a waxed plate
with the iodized collodion, draining the
excess into the collodion bottle, taking
care to rock the plate backward and for-
ward while the collodion is draining, so
that the film will be even. This done,
place the plate upon the dipper and lower
it with one steady movement down into
the nitrate of silver bath. (Of course,
these operations are performed in the
dark-room.) Allow the plate to remain
in the bath for about two minutes, or
three minutes will do no harm. After
this, remove the plate, taking care to
handle it by one corner only, or, if it can
be spanned by the thumb and middle
finger of the left hand, then remove it by
this means. Stand it by corner upon a
piece of blotting paper. Then wipe the
excess of nitrate of silver off the back of
the plate with a piece of soft blotting
paper.

The plate is now ready to be printed
from the negative, which has previously
been varnished and provided with a mask
of waxed paper covering about three-
eighths of an inch of its surface on all
four edges. The negative is now placed
in a printing frame with its varnished and
masked side uppermost, and the plate
still wet with nitrate of silver is placed in
contact upon it. All this work in the
dark-room should have been done under
an amber light.

Lay over the plate a pad of black cloth.

Fix the back of the panel and make the
required exposure. If an incandescent
lamp of 16 candle-power be used, stand
the frame away from the light about four
feet. Twist the frame around during the
exposure two or three times, and count
eight seconds. Turn down the light,
open the back of the frame, remove the
plate, pull off the mask if it sticks, then as
quickly as possible pour over the wet sur-
face of the plate a small quantity of the
iron developer. Holding the plate by
one corner by the finger and thumb, the
developer must be poured on from one
end in one continuous sweep. About
one ounce of developer is all that is re-
quired to do this. Rock the plate so that
the developer and wet silver solution pass
to-and-fro over the surface two or three
times. The image will quickly appear.
Just as soon as it is only moderately well
out wash it at once under a gentle stream
of water from the faucet. Take care
during this operation, or the film may
become injured. The moment the plate
has been covered with water the light
may be turned up or a window opened,
for once the developer has been washed
off the plate it is no longer sensitive to
light. All the operations that follow
may be performed under ordinary light.
As soon as the plate is washed, which is
accomplished in half a minute, it must be
fixed, and although a concentrated solu-
tion of hyposulphite of soda may be used
for this purpose, a mixture of cyanide of
potassium of a strength of twelve grains
to one ounce of water is yet better. This
may be poured over the wet surface and
returned to the graduate, or, better still,
a small wide-mouthed bottle of about six-
ounce capacity. When the picture has
become clear, that is to say, when all the
iodide of silver has been dissolved out of
the film, it must be washed again in a
very gentle stream of water for half a
minute. Stand the plate aside by laying
it down, face uppermost, upon the top of
a graduate, then mix the following:

Bleaching Solution

Sulphate of copper solution at 70 2 oz.
Bromide of potass, solution at 35 2 oz.

Pour this mixture upon the plate two
or three times, returning the excess to the

64 PRODUCING PHOTOGRAPHS IN BLACK SULPHIDE OF SILVER

bottle. The image will become intensely
white. Wash the plate well after this for
about one minute, then pour over the
bleached surface a solution of nitrate of
silver of the strength of ten grains to the
ounce of distilled water, returning the ex-
cess of solution to the bottle. The sur-
face of the bleached image will now be-
come a dark-gray color. Turn the plate
over, see that it is uniformly gray. Wash
for half a minute, and then make up the
following mixture to convert the silver
image into sulphide of silver :

Sulphide of ammonium
Water (ordinary)

1 oz.
4 oz.

(This mixture should be made and
used outside the dark-room, because of
the smell of sulphuretted hydrogen that
is given off.)

Pour a little of this mixture all over
the plate, drain the excess off down the
sink, and w^ash well under the faucet.
The entire image upon the plate is now
converted into the black sulphide of sil-
ver. Just as soon as this has been ac-
complished pour over the plate a mixture
of nitric acid, 1 ounce, water 6 ounces.
This is to keep every part of the high
lights quite clean and clear, because it
will be seen that the print that has been
obtained from the negative is a wet col-
lodion diapositive. While the image is
still wet, or only surface dry, a piece of
the double transfer paper should be
soaked in cold water for several minutes,
then placed into warm water until the
surface feels slightly slippery. The plate
is then flooded with cold water, and the
transfer paper laid upon its surface with
the film side down. Grasped by the two
top corners, they are held so that the
water runs from between them. In
this position they may be clipped and
suspended to dry. As soon as dry, which
will take several hours, the plate may
be warmed slightly, when the collodion
film with its sulphide of silver image will
leave the glass and be transferred per-
fectly to the sheet of paper. It will con-
sist of pure whites and blacks, and will
present all the appearance of a carbon
print with a collodion surface. The
picture will be reversed, unless it is made
from a reversed negative in the first

place, or by using a film negative, then
making the collodion print from the
reverse side.

If prints are to be produced which can
be stripped from the plates and mounted
independently they must be made upon
the albumenized plates previously de-
scribed, as follows: Proceed to collo-
dionize one of the albumenized plates
the same as before, and sensitize it in
the nitrate of silver bath. Carry out the
process of making the exposure in the
printing frame, then develop, fix, wash,
and intensify as before described, and
transform the image into sulphide of
silver by a wash of diluted sulphide of
ammonium. Also flood the plate with a
weak nitric acid solution, then wash well
and allow the plate to become perfectly
dry. It must now be poured over the
entire surface of the image with the
thinned down rubber cement, allowing
the excess of solution to drain back into
the bottle. Then place it in a clean rack
to dry. Just as soon as it is quite dry,
which will be in about half an hour, this
rubber film must be flowed over with
stripping collodion, this being accom-
plished in the same manner as described
for coating the plate, draining the super-
fluous collodion into the bottle. The
plate may now be stood in a rack and put
into a warm place to become perfectly
dry. As soon as the drying is complete
take a penknife and cut the film in a
straight line at the sides and ends by
using a small straight-edge. Cut the
film to a size slightly larger than required
when finished. Now place the plate in a
tray containing a mixture of acetic acid
4 ounces, water 6 ounces. Allow the
plate to stand in this liquid for about five
or ten minutes. It will then be found
that by lifting one corner of the cut film
by the tip of a knife the film can be lifted
completely off the glass plate. It should
at once be placed in a tray of clean water
to wash off the excess of acetic acid, then
laid down upon a piece of double transfer
paper that has been softened as pre-
viously described. The film may then
be pressed carefully down upon the
softened surface by means of a small
squeegee made of a very thin piece of
sheet India-rubber, carefully pressing the
film down from the centre, drawing the

MASTERS IN PORTRAITURE

squeegee gently to the sides so as to wipe
out all excess of liquid. The print may
now be suspended by a wood clip to dry.
When dry it may be trimmed and
mounted just the same as any ordinary
photograph.

The film that has been removed from
the glass is very tough and strong. It
can be handled freely without fear of
injury. In some cases it will not be
necessary to intensify the image; for a
portrait, intensification is best omitted.
It will also be seen that when the film has
been removed from the plate it can be
transferred to its final support in the
correct position. The object of strip-
ping is to accomplish this purpose. Al-
though this description of producing
photographs in sulphide of silver may
seem somewhat lengthy, it will be found
in practice to be comparatively easy, the

various operations requiring no longer
time than is usually occupied in the pro-
duction of carbon prints, which process
it resembles in many particulars.

The whites of the transferred film will
not be quite so brilliant as in the print
transferred direct from the plate, be-
cause of the slight color given by the
rubber varnish. The color is, however,
very slight, and does not prove at all
detrimental to the finished picture.

These intensely black sulphide of silver
photographs can be transferred to porce-
lain or opal glass in just the same
mauner as to paper, using a very thin
substratum of gelatin, of a strength of
twenty grains of gelatin to one ounce of
water, or allowed to remain upon the
glass plate upon which they wTere de-
veloped to form a perfectly black-and-
white transparency.

MASTERS IN PORTRAITURE— JOSHUA
REYNOLDS

REYNOLDS was not only one of the
greatest, but also one of the most
' successful painters England pro-
duced in the eighteenth century. He
was a contemporary of Hogarth and
Gainsborough — indeed, two worthy com-
petitors— but Reynolds eclipsed them in
fame as well as wealth. He was the most
popular of the three, surely during his
lifetime, and even now he holds his own
with any of the English masters. He
is considered the founder of the so-
called English School. In his biog-
raphy we read that he earned £6000
annually, and that he left one million
and a half to his heirs. The term "poor
artist" surely did not apply to him.

He is best known as a portrait painter.
He was a successful and an accom-
plished master at an age when most
painters still study or struggle for pro-
fessional and social recognition. He
painted nearly everybody of conse-
quence, and with such ease, that he fre-
quently finished sixty to eighty portraits
within one vear.

The English aristocracy was always
used to good portrait painters. Holbein,
Van Dyck, Rubens, had established a
standard of rare excellence, and it was
quite natural that Reynolds built up
his style on the Old Masters.

In his Analysis of Beauty, he wrote
that there was only one entrance gate to'
the study of nature, and that the key
was owned by the Old Masters. He
acknowledged himself that he had learn
the largest part of his wisdom and fa-
cility of expression from Titian and
Tintoretto, Correggio and Veronese,
Guido Reni and Velasquez. But he
knew how to amalgamate their traits
with his own individuality.

As we look over the accompanying-
illustrations we are struck by dignity of
pose and elegance of arrangement..
Reynolds was at times an exquisite
colorist, although Gainsborough was his
superior in that respect. This, of course,
is lost in the reproductions, but the local
values are fairly well rendered, and it is
this quality which is particularly interest-

MASTERS IN PORTRAITURE

1 TWO NOBLEMEN

2 DUCHESS OF DEVONSHIRE

3. UNKNOWN LADY

4. VISCOUNT ALTHROP

ing in his work. There is always sub-
tlety and contrast. Notice Figs. 1, 2, 5,
and 9 in particular.

Fig. 1, the "Portrait of Two Noble-
men," is an excellent two-figure com-
position. By painting one figure in a
dark dress and the other in a lighter one,
he produced a fine division of space. The
light spots of the pictures and hands
balance the two luminous faces. The
background is an excellent example of
simple handling. It seems to me that
Reynolds was more successful in his
plain than his elaborate landscape back-
grounds. The latter are a trifle over-done
{vide Figs. 2, 4, 6, 8, and 12). Arc not

Figs. 3, 5, 7, 9, 10, and 11 much finer?
The composition in Fig. 1, could have
been improved if the head of the darker
figure were a trifle higher than the other.
It would have produced a better diagonal
arrangement.

Unusual light effects are another char-
acteristic of Reynolds' paintings. No-
tice, for instance, how the light strikes
the face and certain parts of the dress,
leaving the rest in semi-shadows. It is
natural light effect that explains itself.
Just that way early twilight strikes ob-
jects through a vista of tree trunks. One
even notices the shadows of branches on
the arm and waist. We notice, a similar

MASTERS IN PORTRAITURE

5 MISS BOWLES

6. THE CREWE SISTERS

7. STRAWBERRY GIRL

8. MRS. HARD1NGE

effect in the "Young Viscount" (Fig. 4),
standing under a baldachin. How they
ever arranged such drapery effects in the
open we do not know; it looks a trifle
absurd. But the light is correct; it
strikes the figure from the front and
above, coming from the right side, as
is plainly seen in the hand and the
book.

Fig. 3 is an ordinary good portrait of
the triangular construction. The incli-
nation of the head, always effective in a
full-face view, the slight turning of the
bust toward the left, the arrangement of
the hair, and a due regard to the textural
qualities of the dress lend special charm
to the picture.

Texture is one of the strong points in
Reynolds' work, particularly so in some
of his portraits of children. It is evi-
dent in*Fig. 5, and still more so in Fig. 7,

which could pass for a Rembrandt.
Fig. 5 is photographically possible, but
the particular surface charm of the little
"Strawberry Girl" (Fig. 7) could be
produced by hand manipulation. The
background in Fig. 7 is almost too
opaque, but it helps to accentuate the
glimmer of light on the dress.

Reynolds favored the triangular ar-
rangement in the majority of his por-
traits. We notice it in Figs. 5, 8, 9,
and 12; it is even noticeable in Figs. 6
and 10. The pyramid shape of human
figures is always effective, particularly
for bust portraits and the ordinary up-
right size.

In Fig. 6 the different height of the
heads helps the composition consider-
ably. The figures are well placed, but
somewhat small for the allotted space.
There is too much landscape for a por-

MASTERS IN PORTRAITURE

9. COUNTESS SPENCER,
IO. COUNTESS SPENCER,

784
782

11. LADY BINGHAM
12. MRS- HYDE

trait, the trees are too conspicuous, and
yet the arrangement is exceedingly well
balanced. This is due, it seems, to the
flow of drapery and the picturesque pose
of the arms. And, after all, the two
figures, despite detail, make up the
largest plane, and for that reason domi-
nate the note of black and white contrast
in the background.

Reynolds always put special stress on
the management of hands. They are
very beautiful, but idealized. They al-
ways have the same perfect shape and
languid droop. They are not charac-
teristic of the sitter except in pose and
gesture, and in that respect furnish
valuable material to the student of com-
position.

"Mrs. Hardinge" (Fig. 8) is an ex-
cellent example of line arrangement.
Everything is round and soft and seems

to flow in beautiful curves, although the
lines themselves have a tendency of being
straight and angular; but they never
come to an abrupt point. The scheme
of line is carried out through the whole
composition: It starts with the hair, and
the same curves are repeated about the
shoulder, the waist, in the folds of the
sleeves, the hands, and the skirt. It even
influenced the vista of light in the back-
ground. We do not believe that such
arrangements are possible with our
modern costume. It may be possible to
imitate this particular picture, but it is
quite a different problem to invent a new
one which would hold its own with this
picturesque arrangement.

Figs. 9, 10, and 11 are three simple
bust portraits, about as well managed as
can be imagined. Fig. 9, the "Countess
Spencer," is particularly noteworthy for

MASTERS IN PORTRAITURE

the simplicity of arrangement, the facial
expression, and textural charm. It is
astonishing how well this painter man-
aged, in nearly all instances, to concen-
trate the light upon the face and the
principal parts of the body. And yet,
as we remarked at the start, the lighting
is quite out of the ordinary. It throws
distinct shadows, emphasizes the mod-
elling and principal features of the face,
and yet is diffused. Look at the shadows
under the brim of the hat and under the
nose in Fig. 10; how distinct and yet
how transparent they are. Notice the
touches of light on the nose, upper
lip, and around the mouth in Fig. 11.
Reynolds' light has the true vibratory
quality that illumines the face with
vague accents, emphasizes the features
here and there by a dark passage, and
gives a vague shimmer to the shadowy
parts.

Reynolds' popularity with his sitters
was largely due to his comprehension of

public taste and his willingness of meet-
ing his audience half way. He was
always ready to make concessions.
He was not above making a "pretty"
picture, as Fig. 12, but he always did
it in such a masterly fashion that even
the connoisseur finds it easy to forgive
certain shortcomings. For instance, he
never objected to the introduction of all
sorts of unwieldy paraphernalia, as dogs,
fancy costumes, and all sorts of cum-
bersome and story-telling objects. He
simply made the best of them. He was
such a master of composition that he
generally managed to subdue them.
And in many they proved a valuable
adjunct, as they lend an additional rich-
ness and picturesqueness to his arrange-
ments. His portraits have an air of
completeness about them that is as rare
as it is fascinating. Each of his paint-
ings is a lesson in composition and
worthy of the closest analysis.

A patchy appearance of the developed
carbon print may be caused in conse-
quence of the surplus water not being
blotted off the tissue when it is squee-
geed into contact with its support
previous to development.

The easiest way to save money is
to make more than you spend.

It is impossible to state -all the good
things which can be said about any
article of business in a single advertise-
ment.

It is not generally known that rich,
warm tones, varying from Bartolozzi red
to standard brown, may be obtained by
development alone on most of the brands
of gaslight paper now on the market.

Warm sepia can be secured with unifor-
mity by trebling the requisite exposure
for black tones and by diluting the ortho-
dox metol-quinol developer with three
times its bulk of water. The develop-
ment should be stopped immediately the
desired tone is reached, when a rich print
should result, free from the washed-out
appearance so common with many
methods recommended for obtaining
warm tones. By quadrupling the ex-
posure and further diluting the developer
a good Bartolozzi red may be got. A
variety of colder tones are at command
by varying the exposure above the
normal and by dilution of the developer
in proportion. — Photography.

PHOTOGRAPHIC SECTION

ACADEMY OF SCIENCE AND ART
OF PITTSBURG, PA.

OFFICERS
O. C. Reiter, President, 2424 Perm Ave.
D. R. Breed, V.-Pres., 123 N. DithridgeSt.
C. E. Beeson, Sec'y-Treas., Frick Bldg.
S. A. Martin, Print Director,

923 Chislett St.
W. A. Dick, Lantern Slide Director,

910 Chislett St.

EXECUTIVE COMMITTEE
Norman S. Wooldridge
Walter C. Mellor
Thos. Reed Hartley

MEETINGS AND EXHIBITIONS
CARNEGIE INSTITUTE

THE PITTSBURG SALON MARCH i TO 31

OF the several committees which go
to make up the Salon management
the most important is undoubtedly
that body whose duty it is to select from
among the exhibitors those who show the
proper qualifications for membership in
the Salon.

Upon their judgment and discretion
depends the future of the enterprise; for
if they select unwisely the personnel of
the membership at once deteriorates and
consequently ceases to attract that class
of worker without whose support any
attempt to perpetuate an exhibition
worthy of the name "Salon" would be
futile.'

"The Jury of Selection," that body
which determines what pictures shall
and what pictures shall not appear on
the walls of the Salon are confronted with
a task no less important than the office
mentioned above, yet an oversight on
their part is in a sense temporary in its
effect as compared to the same action on
the part of the Salon committee.

However, at this stage of the proceed-
ings, time is at a premium, and the work
of the preliminary jury must be finished
at the earliest possible moment, so that
the hanging committee, the catalogue
committee and the various other bodies
may complete their work and have every-
thing in readiness when the opening day
arrives. During this season of feverish
(70)

haste and excitement there is little
wonder if occasionally a good print fails
of recognition or a commonplace article
accidentally slips past the guard and
looms up on the walls to the chagrin of
the management and the everlasting joy
of the "Knockers."

It should be remembered that Art
juries possess the same peculiarities of
human nature which characterizes juries
in the commercial and legal world and
nowise have they reached that state of
perfection in operation which insures
the punishment of the guilty or the ac-
ceptance and glorification of the worthy.

In the deliberations of the Salon jury
the past and probable future of the
candidate as a pictorialist is taken into
account and carefully considered; but
particularly do they endeavor to guard
against admitting to membership one
whose sole claim rests upon a single ex-
ample, however excellent that example
may be. Rather is it more profitable to
elect one whose work shows consistency,
even if no individual exhibit possesses
quite the "class" of the picture shown
by the one-print man.

By the observance of these and other
rules the membership, though seemingly
slow in growth, has gained in strength
each year, and each succeeding exhibi-
tion is convincing in its superiority over
the preceding ones. — W. H. P.

nji

NOTES

AND

NEWS

- ~-.i

Professional Photographers' Society of New York

The Thirteenth Annual Convention will

be Held at the Hotel McAlpin, New

York City, February 26, 27, 28, 1917

The leading features will be: Special exhibit
of prints by Haley, Clarence H. White, William
Shewell Ellis, Hoyt, MacDonald, Buxbaum,
Xoetzel, Mock, Miss May L. Smith, Clifford
Norton, Frank Scott Clark and others; then
the members' exhibit of the one best print made
during the vear; practical demonstrations bv
Miss Smith," J. E. Mock, J. P. Haley, and
others; business talks by Pirie MacDonald;
talks on System by George W. Harris and
Frank H. Cole, of Cole & Co., Asbury Park;
"Pop" Core has consented to show several
stunts that he found practical in his business;
the Edison Company, through Mr. Garrabrandt,
have offered the use of their electric studio.
Every member present will be called on for a
five-minute talk. Last year this feature proved
to be such a success that we are going to repeat
it. There are other features that are being
prepared which at this time cannot be announced.
YVe want each member to assist in making this
convention the best ever. Of course, there will
be the annual banquet and dance.

For twelve years the Xew York conventions
have been most successful — one great big family
gathering where friendship and ideas are
renewed and exchanged. We want each member
to assist us in making this, the thirteenth annual
convention, the most successful yet held. Make
your preparations to attend. You cannot afford
to miss it.

E. L. Mix, President.

The Studio and Its Proprietor

Some studios seem to run automatically. The
pushing others need is so obvious, looking at it
hurts. What makes the difference?

Some men work because work makes them
happy; others find no joy, but tiresomeness and
bother in the necessity for effort. What makes
the difference?

His studio, in its appearance, its management,
and its success or failure, reproduces with
infallible fidelitv every lineament of its owner's

character. It is the concrete expression of his
habit of thought and action. That it is what
makes the difference.

His attitude toward work and toward others
is the combination to that innermost chamber of
himself. He cannot be lukewarm to others and
cold to work and not in the end find all life's
gladness frozen against him. That it is that
makes the difference.

It is not fate. It is not luck. It is not some-
thing over which you have no control. It is
something that every man can mold and build
upon. But you've got to do your building even
more regularly than you open the studio and
never take a vacation from it. For it is character
that makes the difference.

The New Panchroma Combination Lamp for
Professional Portrait Photographers

In the new model H series the resistance is
mounted on the lamp itself, thus permitting
the removal of the toplight from the stand for
use independent of the stand, such as hanging
above the setting. Another important improve-
ment is the new switch box which is fused through-
out. This improvement is an invaluable time-
saver and has been called one of the most advan-
tageous innovations.

Especial attention is drawn to the lamp shells
or reflectors which have been improved to such
an extent that undue heating is avoided and the
reflecting surface thus kept in condition for many
months. An exclusive feature of the new shell
is the device by which the carbons may be
renewed without detaching the shell from the
lamp. This, too, is a time saver.

Great attention has been paid to the scientific
construction of the reflecting surfaces so that the
light is evenly distributed over a given area
designed to be covered, gradually diminishing
so that additional units may be used and the
light perfectly blended where the rays join.
Additional reflectors are supplied, which may
be attached to the lamp while in position, so
that the operator may spread the light over a
large surface or concentrate it upon a small
space. The lamp is not a spot light under any
circumstances. By giving the operator a great
range of usefulness the manufacturers are trving

(71)

NOTES AND NEWS

to place in the handsof the motion-picture maker
the greatest volume of actinic light with the least
possible trouble for the electrician and the
director.

The lamp furnishes 12,000 candle power of
pure actinic light, pleasant to the eye and con-
suming 25 amperes at 110 volts. It is mounted
on a balanced stand with easy adjustment from
the floor to 9 feet 10 inches high — and can be
wheeled into any position. Full information
will be furnished by applying to the Allison &
Hadaway Corp., 235 Fifth Avenue, New York
City.

Motion-picture Portraits

By applying the principles of motion pictures
and of modern enlargements on paper, Mr. G.
Bettini, of New York City, has evolved a new
system of photography which is revolutionary
in many respects. The inventor states that
all the expensive apparatus in the professional
studios will be unnecessary when his camera
is introduced, and in portrait work, because
of the certainty of natural expression selected
and the simple manner of controlling the light
effect, the average amateur will be able to
make artistic portraits quite as readily as the
foremost professional.

The new process consists of nothing more
than the taking of motion pictures of the sub-
ject while the latter is assuming a number of
natural poses, then developing the negative
and printing a positive from it, followed by
the projection of the positive for the subject
so that a selection of poses may be made, and
finally the printing of the desired photographs
on paper to any size desired.

For his photography Mr. Bettini depends
upon a motion-picture plate camera. At the
rate of about twelve per second, the various
poses assumed by the subject are photographed
on a standard glass plate negative in hori-
zontal and vertical rows, the plate being suffi-
ciently large to take something like 500 or
more exposures. Each exposure or image is
i or f inch square, the former dimensions being
that of the existing camera, while the latter
will probably be that adopted for the commer-
cial cameras. When the camera has recorded
the series of poses, the negative is removed
from the light-proof magazine and developed
in the usual manner.

A positive glass plate or lantern slide is then
made from the negative, and the subject then
has an opportunity of seeing himself on the
motion-picture screen, just as others see him.
Since the glass plate is non-inflammable, the
subject can have the motion-picture projector
stopped at any desired point. Thus a selection
is made of one or more poses, and by means
of two indices — one for the horizontal and one
for the vertical rows — the operator can make a
note of the images approved of.

The photographer then returns to the nega-
tive, which he places in an enlarging machine.
The latter, in its main essentials, is a counter-
part of the projector; in fact, the projector
may as well be employed for this purpose if
there is no occasion to use both machines at

one time. Referring to the notations of the
poses selected, the photographer brings the
desired image into position by adjusting the
pointers on the horizontal and vertical indices
which correspond to those on the projecting
machine. The enlarging process now resolves
itself into the usual procedure. The powerful
arc lamp is turned on; a piece of plain paper is
placed on a stand in the path of the rays of
light, in order to focus the negative image
properly; and finally the sensitized paper is
substituted for the plain paper and the exposure
made.

Because of the tremendous enlargement
which is occasioned by the employment of
of so small a negative for so large a print —
71 by 9\ — the inventor has had to overcome
the appearance of prominent grain in the prints
particularly when fast plates are employed,
Mr. Bettini has solved the problem by causing
the rays of the enlarging machine to pass
through a piece of silk bolting-cloth, held be-
tween two sheets of glass, just behind which is
placed the sensitized paper. The fine screen
thus interposed effectually destroys all traces
of the coarse graining, and its mesh is barely
discernable in the enlargements. Naturally, the
screen necessitates a longer exposure for the
paper, but this is not a troublesome feature to
contend with when one is dealing with seconds.

The finished prints made by the new process
have the soft, harmonious effect that is so much
in vogue among leading photographers today,
and despite the intense enlargement the amount
of detail demanding attention is surprisingly
high.

But most commendable of all is the natural-
ness— unusualness, one might say, since natural-
ness is such a rarity in studio photographs—
of the expressions and poses, for the subject
has been photographed at moments when these
were beyond voluntary posing. Finally, it
should be remembered that in this new pro-
cess the subject is not obliged to assume a
number of expressions and poses under the
guidance of the photographer; instead he
smokes, laughs, reads a letter, and chats with
the photographer while the camera is recording
every move that he makes. "Painless photog-
raphy" is what we are tempted to call it.—
Scientific American.

A New Process of Stellar Photometry

A new process of stellar photometry has been
developed by Mr. H. T. Stetson at the Yerkes
Observatory. At present the common photo-
graphic method of determining the brightness
of a star involves measuring the diameter of
the image on the photographic plate. One
serious difficulty in this process is due to the
fact that the images show no well-defined peri-
phery, so that the diameter is more or less
uncertain. The difficulty is augmented if the
images are elongated or poorly defined.
Another method is that of extra-focal images:
The plates are placed at a considerable distance
from the focus of the telescope, and under
these conditions the star disks are all of appre-
ciably the same size, but differ in opacity, and

NOTES AND NEWS

the latter is determined with a calibrated
photographic wedge, by means of a Hart man n
micro-photometer or other similar device.
The principle involved in the new method is
to measure the energy absorbed from a beam
of light by the silver grains in the stellar image
on a photographic plate, and to interpret such
absorption in terms of stellar magnitude. A
thermopile is so placed as to receive light from
a constant source, and in the path of the light
is placed the star image, on the photographic
plate. The image thus stops an' amount of
energy depending upon the magnitude of the
star. The apparatus is also adapted for meas-
uring opacity of the image in extra-focal photo-
graphs, and for measuring relative intensities
in plates of stellar spectra. The principal
sources of error in this process appear to be
variations in atmospheric conditions during
exposure at the telescope and irregularities in
the photographic plates, but it seems to mark
a distinct advance over the method of measur-
ing diameters of star images. As compared
with the use of the selenium cell and the photo-
electric cell, Stetson's process is applicable to
a wider range of star magnitudes. A special
thermopile was devised for this apparatus by
W. W. Coblentz, of the Bureau of Standards.

"Twelve Things to Remember"

The value of time.
The success of perseverance.
The pleasure of working.
The dignity of simplicity.
The worth of character.
The power of kindness.
The influence of example.
The obligation of duty.
The wisdom of economy.
The virtue of patience.
The improvement of talent.
The joy of originating.

A Notable Collection of Photographs from
Spain

At the Hispanic Museum in New York is
an exhibition of photographs of rural Spain
by Anna Christian, the interest of which will
be greatest to those who know something of
the conditions under which the work was done.
Miss Christian, in addition to her thorough
training as a photographer, has two years of
architecture at Columbia University to her
credit. This has given her a point of view
extremely valuable in presenting architectural
subjects and in selecting the artistically sig-
nificant. Her work in Spain resulted in some
six hundred photographs from the many sec-
tions and states into which this country is
divided. These commemorate the traditions
persisting through centuries with a home-
staying people. There is no apparent reason
why Galicia should continue to build long
and narrow houses and Asturia square houses,
except that they have done so in the past.
There is no reason that Valencia should throw
her grapevines over the fore porch of her home-
steads and keep the charming habit to herself.
These and other differences are noted in Miss

Christian's photographic record and add to its
importance.

Many of the places she has photographed
have never been published to the outside world.
The Spanish resemble the Moors in declining
to admit men into their houses, and only a
woman could have obtained access, but the
woman attempting the tour of the Spanish rural
districts must have the hardihood of a strong
and determined man, for the discomforts have
persisted together with the traditional archi-
tectural features.

One series of photographs is particularly
interesting in showing what is practically
trench life. Godella, Valencia, is an under-
ground town, the chimneys of which are on a
level with the surface of the earth. The houses
are approached by a graded entrance, such
as travelers occasionally choose to climb in the
Pennsylvania Station. A roof of barbed wire
is used to prevent strangers from climbing down
into the houses. Pigs and chickens share
house room with the people, who depend for
light and air upon the overhead openings, and
who roll up their bedding in the daytime and
pile it where the sun can reach it. All this
picturesqueness is displayed in the photographs,
together with beautiful details, such as the
ornamental wrought-iron case in which water
jars are kept in this town, but not in others.

The cave dwellers or gypsies of Andalusia
also are an underground people, but they have
a simpler method, burrowing into the side of
a hill. Miss Christian has photographed these
rooms hung with cages for birds, of which the
Spanish gypsy is passionately fond. She has
photographed the house barns of northern
Spain on their stone stilts, the rock houses of
Pyrenees, the Muir bulls undergoing tests for
courage. (This last subject called for a guard
of forty men to protect the intrepid artist.)
She has shown palaces and workhouses, the
homes of rich and poor, which never before
have been photographed. The artist, Sorolla,
with whom she stopped during much of her
stay in Spain, obtained introductions for her,
and eagerly furthered her efforts to place on
record an already passing civilization. One of
the photographs testifies to the need of haste,
the picture of the Casa de Miranda in Borgas,
rich in superb Renaissance decoration, and now-
used as a slaughterhouse, the Frenchman who
owns it not being permitted by the authorities
to remove it from the country.

Miss Christian has sold one set of her pictures
to Arthur M. Huntington, and others are owned
by the Hispanic Museum. They are museum
material of an important kind. — N. Y. Times.

Burke & James, Inc., Take Over Universal
Camera Company

Messrs. Burke & James, Inc., of Chicago,
have taken over the exclusive wholesale selling
agency for the products of the Universal
Camera Company of that city, including
cameras, tripods, dissolve, etc. Among the
users of this camera are many of the most
prominent motion-picture men in the world,
and also many large institutions, such as the

NOTES AND NEWS

Selig-Tribune Weekly and the Herald Weekly.
The camera is also being extensively used in
Europe. One of the great advantages of this
camera is that it is so quickly set up and oper-
ated that the man equipped with it "gets the
picture and gets away before the other fellow
gets set up."

This is an excellent proposition for photo-
supply and motion-picture supply dealers.

Death of Willis G. C. Kimball

The late W. G. C. Kimball, of Concord, N.
H., was born at Manchester, June 4, 1843.
The family soon moved to Franklin, where his
boyhood was passed attending the district
schools and Franklin Academy. Coming to
Concord, where he has since resided, in the
autumn of 1854, he entered at that time the
Kimball Studio as an employee. In 1867 he
succeeded to the business, which he had carried
on very successfully since, and the Kimball
Studio has had a country-wide reputation.
His son, Richard H. Kimball, became a member
of the firm Mav 1, 1908, and continued until
his death, October 27, 1909.

THE LATE W. G. C KIMBALL
COURTESY "CONCORD EVENING MONITOR"

W. G. C. Kimball married Ella Gove,
daughter of the late Nathan W. Gove, May
31, 1863, and their four children were born in
Concord.

Mr. Kimball served in the Eighteenth New
Hampshire Regiment in the Civil War, enlisting
as a private, being promoted to sergeant-
major and captain, and receiving a lieutenant-
colonel's commission just before the muster-out
of the regiment, July 29, 1865.

He was a member of E. E. Sturtevant Post,
G. A. R., of Granite State Council, Royal

Arcanum, and the Wonoclancet Club. He
had been on the city park commission since
Mayor Clapp's administration, taking a special
interest in the development of Rollins Park.

He was widely known in his profession and
held in high esteem.

Death of George W. Woodward

George W. Woodward, secretary and
director of Sprague-Hathaway Company,
Somerville, Mass., passed away at his home,
79 College Avenue, December 18, 1916, of heart
failure. Mr. Woodward was universally
respected for his high sense of honor and
noble character. He will be greatly missed.

"Advertising by Motion Pictures"

By Ernest A. Dench

Cloth, 12mo. Price, prepaid, $1.50.

The motion picture has achieved wide-
spread fame as a form of entertainment and
it is now likely to repeat this performance
in the advertising field. It is an entirely new
publicity medium which is destined to become
very popular and very effective.

The subject is one on which there is scarcely
any information available, so this work by Mr.
Dench is the first in the field. This new method
of advertising is almost certain to come into
general use. The author, who is recognized as
one of tbe foremost motion-picture authorities,
has covered every phase of his subject in a
thoroughly practical and understandable way.
The business man who is seeking up-to-date
methods, whether he be manufacturer, whole-
saler or retailer, will welcome this suggestive
handbook on what is probably the most original
and effective way of advertising yet devised.
Supplied through this office.

Prospects

We, in the photographic trade, have been
accustomed to let things drop after the holi-
days, and, expecting little, we have received
little. Let us vary the usual order of things
and expect something this year, and, further-
more, let us be consistent and act as if we had
a perfect right to expect it by going after it
with confidence. We need some business to
make up for higher costs, both in living and
supplies. Other lines of trade are active, and
merchants and manufacturers are pumped
full of confidence and pep, and there is no
better foundation for good business than these
two virtues.

Portraiture is the mainstay, and will con-
tinue to be so, and it is a good line to follow just
as far and as long as the public has money. The
commercial line is the great undeveloped field
that is rich in possibilities while business is
active. The prospects for the winter period
after the holidays is for an active business with
a free flow of money, and from this outlook
there is no other logical conclusion than that
opportunities will abound for liberal orders for
both portrait and commercial photographs. —
Trade News.

THE WORKROOM

By tde JicdtT Operator

What the Operator Needs

Modified Hydroquinone Developer

The Combined Toning and Fixing Bath

Note on Washing Bromide Enlargements

Chemical Method of Blackening Wood

Simple Lamp for Bromide Work

To Renovate Celluloid Photographic Utensils

The Choice of a Plate

Non-bromide Bleach for Sulphide Toning

Lantern Slides

Solving an Old Winter Problem

Laboratory Notes

Pyro-stained Fingers

Do not Waste Developer

Portraits of Men

Clothes and Pose

Still-life Work

Reflections

A Simple Process for Making Sepia Paper with

the Salts of Iron
Portraits at Home
Blue Prints

Better Bromides by Redevelopment
Random Notes
Masking Lantern Slides
Magnifiers

What the Operator Needs

Confidence in his ability, and patience, are
the two things needed by an operator. The man
who is perfectly calm in the operating-room and
who nothing in the world can disturb, who never
fidgets, never shows any impatience, is the man
who is absolutely sure of getting results.

Operating is no easy task. You must put up
with the ways and the ideas of your customers,
and no two customers can be handled in the same
way. No two children can be photographed in
just the same way. What will please one child
will not please another. You know there are
other sittings waiting. These other sittings are
worth more money to the studio than the one
which you are trying to make. You will get
better results, your customer will be better
satisfied if you never show any indications of
your desire to get through with them at the
earliest possible moment.

Too many operators have never had experience
of working with other operators and must learn
as they go along.

Xo man ever made a success of anything unless
he made some failures, for the man who never
made a failure would not have ambition enough
to succeed in anything.

Learn to know your camera as an expert
engineer knows the engine. He knows just how
far to move the lever to start or stop the train
within a certain number of feet. You should
understand your camera and lens in the same
way. You should know just where to place it to
get the right lighting and size of head desired.

Do not let your work worry you. Nothing in
the world will disturb the sitter and destroy
that look which you want to get upon the face
as the appearance of a man who looks as if he
were worried.

In dealing with groups comprised of all ages
you will usually find one among them who knows
more about the business than you or any one

else, one who is ever willing to make suggestions
to you, and always waiting for an opportunity
to find fault with what you have done. Then
again you will have in your operating-room per-
sons who come in with the sitter simply to stand
around and watch you. Pay no attention to
them. Do not even let yourself know that they
are there, and do not let them worry you as
they do many others.

It is the calm, persevering and cool person
who, when the day or week is ended, has accom-
lished the greatest amount of work. — Ohio Photo
News.

Modified Hydroquinone Developer

The particular defect photographers claim
against the use of hydroquinone as a developing
agent seems to be that of the rather harsh images
it produces. This defect is attributed to the
association of the hydroquinone with carbonate
of soda and sodium sulphite. The great advance
in the price of the reagents manufactured exclu-
sively in Germany has led to many substitutes.
Fortunately, hydroquinone may still be had at a
reasonable price, and if it can be made to give
the softer negatives so much needed for exploita-
tion of the artistic phase of modern photography,
it may be advantageously used and is an
economic factor in the work.

It is quite possible to remedy the objection
urged against hydroquinone, and to enable it to
produce negatives having the quality of those
developed by metol or the other soft-working
reagents. The following method permits us to
attain this purpose:

Water 32 oz.

Sodium sulphite (gran.) If oz.

Hydroquinone 150 gr.

Ferrocyanide (yellow prussiate)

potash 75 gr.

Caustic soda 300 gr.

(75)

THE WORKROOM

This solution keeps for a long time. If separate
solutions are desired the following method is
recommended :

Water . 32 oz.

Sodium sulphite (gran.) . . 3 oz.

Yellow prussiate of potash 150 gr.

Hydroquinone 300 gr.

Water 32 oz.

Caustic soda 1J oz.

Keep the two solutions separate in well-
stoppered bottles. Use equal parts of A and
B for normal exposures.

The development is quite rapid, the image
appearing in less than a half-minute and rapidly
attaining good density. The temperature,
however, must not be below 70°, inasmuch as it
is a peculiarity of hydroquinone to be sluggish at
low temperatures, indeed inert at or near the
freezing point of water. After development and
before washing immerse in:

Water 32 oz.

Concentrated solution of bi-
sulphite of soda ... ^ oz.
Sulphuric acid .... 1 dram

Let the negative remain in this bath for a
minute or two, keeping the tray in motion; then
fix (without washing) in hypo, usual strength,
to which a little bisulphite of soda is added.

By this operation beautiful negatives are
secured, comparable to those made with metol.
The final washing from the hypo is done in the
usual way. —Bulletin of Photography.

The Combined Toning and Fixing Bath

Some Practical Notes

The vogue of printing-out paper, as far as
amateurs are concerned at any rate, appears to be
steadily declining; but even workers whose aims
are chiefly pictorial, and who employ bromide
printing or its attendant processes (e. g., bromoil
or ozobrome) for their ordinary work, will
sometimes find it an advantage to make a trial
print or two upon P. O. P., either as proofs or
to serve as guide prints when working one or
another of the controlled processes.

In such circumstances a "stand-by" bottle of
combined toning and fixing solution will give
good service in the work of finishing off the
prints, whether they are simply rough ones for
the purposes suggested or intended to be com-
pleted in the usual way for sale or presentation.

For some time past (probably three or four
years) I have used a combined bath which
was purchased for, I think, five cents,
and as I have employed it quite frequently
(not only for prints, but also for certain kinds
of lantern slides) it can hardly be regarded as
expensive. This observation, however, is subject
to a trifling qualification, namely, that the
contents of the original bottle has been reinforced
from time to time, as described later.

It is fairly well known that a bath of this
kind improves with keeping and works better

when it has been used three or four times; this
is so much so that one is well advissd when
purchasing or making up a new combined
solution to add part of an old used bath to
bring the solution to an active stare, a condition
which was, I believe, called "ripeness" by the
old-timers. My method is as follows: When the
solution shows signs of slowing up, I add a few
crystals of hypo — about a quarter of an ounce,
but exact quantity not important — and a
"gold toning" tablet. If the bulk of liquid in the
bottle, which in my case is ten ounces, requires
making up, the desired quantity of water is also
added; this preferably should be slightly warm
to expedite the dissolving of the hypo. The
whole can then be shaken up until hypo and
toning element is thoroughly dissolved, when the
solution will again be ready for service. If the
reinforced bath is required for immediate use, it
is better to crush the tablet of toning compound,
and dissolve it, with the hypo, in a little warm
water, separately, and then add it to the contents
of the bottle. Although warm water is here
mentioned it should be clearly understood that
this is only made use of with the intention of
hastening the dissolving of the additional
constituents. The bath should not be used at
a higher temperature than 65° F.; at the same
time the solution must not be worked when very
cold, or the results, as far as perfect fixation is
concerned, may not be altogether satisfactory.

There are one or two points which should be
carefully borne in mind in order to obtain
successful results when toning and fixing are
done in one operation. The first one is to place
the prints to be toned directly into the bath
without any preliminary washing; then to rock
the dish so as to keep the print, or prints, in
motion during the whole time they are in the
solution; and also to avoid the mistake of trying
to deal with too many prints at once.

The requisite time for toning and fixing is a
factor which may puzzle some workers, especially
beginners. I generally reckon that the minimum
time in which complete fixation can be obtained
is fifteen minutes, and if the desired tone is
reached before that period has elapsed the print
should be rinsed for a few seconds, and trans-
ferred to a dish containing a plain hypo solution
of the strength usually recommended for P. O. P.
- — two ounces of hypo to twenty ounces water —
until the prints are fully fixed. If the toning is
considered to be finished in eight minutes, then
I give the balance of seven minutes in the plain
hypo, and so on, making the total time for fixing
the standard of fifteen minutes, as mentioned.

Most combined baths when they have been in
use for a time contain a grayish sediment; this
is no detriment, but I have found it to be very
essential that this sediment should be entirely
removed from the paper before the print is
dried. It might be supposed that the final
washing, which everybody knows must be
thorough if it is to be effectual, would remove this
sediment. This is not always the case even when
the prints are washed vigorously in running
water. To obviate this I invariably "sponge"
over both the face and back of print with a little
wad of cotton wool, keeping the print under
water.

THE WORKROOM

It may be suggested that the necessity of a
toning and fixing bath does not arise if one of the
many excellent self-toning papers is used instead
of the older form of P. O. P. Exactly! but it
must be remembered that P. O. P., even when
the cost of the toning-cum-fixing bath is added,
is less expensive than paper of the self-toning
variety. A ten-ounce bottle of efficient solution
can be bought or made up for less than a quarter,
and can be kept up to standard strength by the
expenditure of a few cents per annum. This is
obviously an economical investment, even if
one only needs to use the bath very occasionally.
I do not, of course, claim that a single bottle of
combined solution will last indefinitely, even if
renewed fairly often, but I do know that when
my present stock has lost its virtue I shall filter
it off and add it to an equal bulk of new solution,
so that not a drop will be wasted. — -F. H. B.
Smith, in Amateur Photographer.

Potassium bichromate
Copper chloride
Warm water

30 gr.
5gr.
1 oz.

A Note on Washing Bromide Enlargements

When bromide enlargements or large-size
bromide or gaslight contact prints are washed in
a considerable volume of water — such as a bath
half filled — it will be found, even if the water is
kept running, that some of the prints will sink
to the bottom while others will show a tendency
to float on the top of the water. These dia-
metrically opposite characteristics result from
the fact that papers of various makes and sur-
faces differ considerably in both weight and
texture. Both extremes need to be guarded
against, as neither the "sinkers" which lie in
the hypo-laden water at the bottom nor the
"floaters" which remain at the top, with their sur-
faces almost dry, will be thoroughly washed unless
special care is exercised in dealing with them.
To ensure that they are effectually freed from
hypo contamination (which spells ruin to a print
if it is to be subsequently toned) the whole
of the water should be entirely withdrawn three
or four times during the washing process; the
prints which go to the bottom should be laid on
the surface of the water and allowed to sink
gradually, and the prints which persist in keep-
ing to the top should be gently pressed under
water from time to time. Also, in addition to the
movement occasioned by the inflow and out-
flow of water, the general bulk of water should
be kept in motion by being frequently agitated
during this all-important operation of washing.
Above all, the outflow of water must be from the
bottom of the washing utensil, in order that the
hypo (which, being heavier than water, sinks
to the bottom) may be drawn off first. — Amateur
Photographer.

A Chemical Method of Blackening Wood

Many makers of cameras and photographic
accessories are frequently seeking a means of
blackening the wooden parts of cameras by
chemicals rather than by paint. In order to
secure a good dead-black surface, the wood
should first be cleaned well with glass paper
and all moisture driven off by heat. The solu-
tion is:

After the surface of wood has been well
cleansed and brushed from dirt, it is sponged over
with the solution, and time allowed for soaking
in and drying. When the wood is quite dry, the
surface is sponged over with the following
solution:

B
Aniline hydrochlorate ... 80 gr.
Water 1 oz.

If the black thus given is not deep or satis-
factory, the process should be again repeated.—
Amateur Photographer.

A Simple Lamp for Bromide Work

For bromide work it is quite safe to have
plenty of yellow light in the dark-room, and this
is far superior to the ruby light used for plates
and films, as it is easier to see how far the print
or enlargement has progressed in developing.
Those workers who do not possess a dark-room
lamp fitted with red and yellow screens may
make a lamp for their bromide work very simply
as follows: A biscuit tin serves well for the body
of the lamp, and this should have two or three
holes punched in the bottom to admit air. The
lid is then taken, and all the centre removed,
leaving about an inch all round the edge. To
this a piece of yellow fabric is fixed with "secco-
tine, " or failing this two or three sheets of deep
canary-colored paper sold for decorative pur-
poses. The lamp is then complete. To use it,
the lamp is laid upon its side, a candle lighted
and put in, and the lid of the box put on. The
worker need have no fear of the little white
light that escapes from the rear of the lamp
hurting his bromide paper, provided it does not
come directly in contact with it. The above,
though simple, will be found exceedingly useful
in practical work for the purpose named. —
Amateur Photographer.

To Renovate Celluloid Photographic Utensils

When the surface of celluloid dishes — washing
utensils and other articles made of this material
— becomes worn, dirty and scratched, it can be
cleaned and restored by polishing with ordinary
whitening made into a smooth cream by the addi-
tion only of clear cold water; or with a creamy
paste made from good putty powder mixed with
water. After this process is completed the surface
of the celluloid can be finished off by the appli-
cation of a little dry whitening on a "selvyt"
or other suitable soft cloth.

Another excellent method, which is specially
recommended for dishes which have become
badly stained, is to give the celluloid a thorough
scouring with ordinary silver sand and water,
follow this with a rinsing in running water, and
then subject the surface to a vigorous rubbing
with a soft cloth or flannel dipped in an acetic
acid solution. Wash again thoroughly, and the
treated surface should then be found quite free
from dirt and stains. When dry it can be
finished off by polishing with dry whitening, as

THE WORKROOM

previously described. The acid solution em-
ployed in this method should be a fairly strong
one, say one part glacial acetic to from seven to
eight parts of water. — Amateur Photographer.

The Choice of a Plate

Although even the same grade and make of
plate varies in quality from time to time its
general characteristics are usually fairly con-
stant, so that a photographer who wishes to
select a plate to suit his special methods of
working can make a series of experiments with
various brands without feeling that his time and
labor are likely to be thrown away by subse-
quent fluctuations in the kind which he finally
selects. Although there is a considerable
difference in the character of the image pro-
duced upon different plates, most photographers
do not seem to have any idea of selecting the
best for their own use by any method of prac-
tical trial, but only change from one brand to
another when they imagine the first has in
some way deteriorated, and then they do so
very likely on the inducement of a traveler who
has possibly never made a negative in his life.
Too often we are afraid that an extra 2.5 per
cent, at settlement will carry the day against a
better emulsion. It is sad to have to say it,
but the average standard of "quality" in por-
trait negatives is not a very high one, and, what
is still worse, many photographers do not seem
to realize it. If they could keep before them
some really well-modelled, fully exposed and
developed negatives for comparison they could
hardly help feeling that something wanted
looking to in their own practice. Good nega-
tives mean easy printing, no matter what be
the process used. Even bromides and gas-
light papers do not call for poor negatives,
although they help to get decent results from
them, and for this reason have perhaps helped
to cause or increase deterioration in quality.

Therefore we counsel the photographer who
desires to make his work as good as circum-
stances will allow, whether he be turning out
postcards in a little village or portraying the
high and mighty in a great city, to take pause
and make a few experiments so that he may
find out whether he is doing as well as he might.
It is perhaps necessary to point out that the
personal element enters largely into the case,
and that studio conditions also largely influence
results. "One man's meat is another man's
poison," and the plate that gives A the results
he desires may be altogether unsuitable for B.
Developers and systems of development are
important factors, but these come into another
category: the problem we have now to solve
is the adaptation of a plate to existing condi-
tions.

Assuming that the photographer can recog-
nize under- or overexposure and that he is
acquainted with the rudimentary principles
of development, the course we recommend is
to procure three or four boxes of plates of
different makes but as nearly as possible of
the same (reputed) H and D number, includ-
ing the plate he has been using, and to fill
slides of the studio camera with one of each

sort. Then let him expose upon the same
model, with the same lighting, and develop
in the same dish. This is the preliminary
stage. It will eliminate those which are less
sensitive and will show the characteristics of
the others. If a negative be a trifle thin, but
otherwise good, it indicates longer develop-
ment; if one is seen to be full of detail but flat,
a shorter exposure and longer development are
necessary. The next stage is to repeat the
exposures, giving modifications in exposure
and development which the previous trials
indicated. If none comes near the ideal nega-
tive, the lighting must be overhauled and the
exposure challenged. Many men are blaming
their studio, and worrying because they can-
not realize on the plate the effects they see
on the screen, simply because they cannot
believe that their exposures are incorrect. We,
have watched men exposing plates upon "fancy
lightings" which required twice or three times
the exposure necessary for ordinary "three-
quarter" lighting without giving any increase,
and then heard them complain that the lighting
is hard. Within reasonable limits any effect of
light which can be seen can be reproduced by
photography, but there must be a reasonable
approach to correct exposure to do so, and to
this end we suggest the use of an exposure
meter, not in the orthodox way, but simply as
a guide to relative exposures. Let a.n assistant
wear the meter as a locket in the ordinary light-
ing, and let the time to "tint" be noted; then
let her sit as a "fancy lighted study," and
note the increase necessary in exposure. The
old advice, "Expose for the shadows and let
the high lights look after themselves" may be
open to criticism for landscape work, but in
portraiture it holds good. More portraits are
spoiled by under-exposure than by any other
cause, and if full exposure were given half tbe
retoucher's work would be saved. To those
who like strong effects in lighting we would say:
Light your model as now, give the plate your
normal exposure, one twice and one four times
normal, develop together, and then select the
best negative. It may be the normal exposure;
in that case you have nothing to learn. It
must always be remembered that rapid plates
require longer development than slower ones,
which take density much more readily. — British
Journal of Photography.

Non-bromide Bleach for Sulphide Toning

The question of chemicals seems to be growing
less acute, except as regards prices. Monomet
is proving itself quite as good, if not better,
than metol, but the scarcity of potash salts,
or, perhaps, the price, is still serious. Sodium
carbonate may very well be substituted for
potassium without any very great disadvantage;
in some cases it seems to work better, and it
is probably better for the fingers than potas-
sium. The bromide salts are still a terrible
price, partly no doubt due to the great demand
for them from the hospitals for use as a sedative.
The last quotation I had was $9.00 per pound,
an absolutely prohibitive price for toning
bromide prints in any quantity, so that some

THE WORKROOM

substitute had to be found. And in this matter
I do not think the paper and plate-makers have
given us all the help we are entitled to expect
from them, for they still go on giving formulae
containing metol, when they know quite well
that the average photographer cannot get it,
and they still continue to give formulae for
toning containing bromide salts.

In the early days of the war I began to look
out for some other bleaching agents than the
bromides by trying many of those given in
the British Journal Almanac. After many
trials of various formulae I finally settled down
to a chloride bleacher (I had very little success
with permanganate i, and have used it now
for over a year with complete success. Among
its numerous virtues it avoids blue metal spots,
which frequently spoiled prints when potassium
ferricyanide was used. A gallon of concen-
trated bleaching solution can be made for less
than seventy-five cents. It is as below:

Potassium bichromate 3 oz.

Strong sulphuric acid ... 10 oz.

Common salt 16 oz.

Water 1 gal.

This may be kept in a stoneware jar, and
can be diluted to about one-half its strength at
the time of using. The solution acts in rather
an erratic way; sometimes the prints will bleach
quite evenly and completely, at other times
in a very- patchy way, but this does not seem
to affect the final result. After bleaching, a
thorough washing is necessary, followed by a
bath of salt and water to remove the yellow
stain of the bichromate, and the prints must
remain in it until the high lights are quite free
from yellow, and must be washed again before
sulphiding. The solubility of the yellow stain
seems to van- with the brand of paper; some
kinds need at least ten minutes in the salt
bath before it disappears; in other cases the
yellow stains may be removed by washing in
plain water, but I find it best to give all prints
the salt-water bath before sulphiding. In
making up the salt bath it is necessary that
the salt should all be dissolved before any
prints are put into it, because if any granules
of undissolved salt are allowed to remain on
the face of a print they will cause light marks;
evidently the stronger solution surrounding the
granules has the power of dissolving the silver
chloride image. Some months ago the British
Journal of Photography suggested a second
fixing bath after development as a cure for
yellow whites in toned prints. I at once
adopted the suggestion, and have followed
the practice ever since, and I find that if the
second fixing bath is, by some chance, omitted,
yellow high lights are sure to follow.

I find it best to use the bleaching solution
once only, and then throw it away, and it is
cheap enough to warrant this, and especially
as there seems to be a loss of brilliance in prints
that have been bleached in a solution that
has been used before. I cannot explain why
this should be so, but there is no doubt in my
mind that it is a fact. When first poured out
the solution should be a deep bright orange
color; with use it darkens to a deep, dull orange

color; it seems to have a tinge of black in it.
Such a bath will give flat prints, without any-
apparent loss of detail in the picture, but
the vigor and brightness disappear.

The color of the finished print is exactly the
same as that produced by the bromide ferri-
cyanide bath; at first I doubted this, but a
print was cut in two, one-half toned with
bromide, the other with chloride; the two
halves, when mounted together, were of exactly
the same color. I kept the print for some
months, and quite forgot which was which,
as it was quite impossible to tell which was
done with chloride or with bromide.

As a safeguard against blisters, I have
adopted the plan of using a small amount of
alum solution in the sulphiding bath; it will
make the solution slightly cloudy, but seems
to have no bad effect, and it certainly does
have the effect of reducing the number of
prints spoiled by blisters. I stated that the
chloride bleacher does not produce blue stains,
but sometimes dark indigo spots will appear in
the sulphide bath; however, they always dis-
appear in drying. — Harold Baker, in British
Journal of Photography.

Lantern Slides
Lantern Slides Direct in the Camera
Douglas Carxecie has simplified the method
of making diagram slides direct in the camera
by reversal by exposing through the glass of
the lantern plate, the focusing screen of the
camera being likewise reversed. On account
of small differences which may exist between
the thickness of the lantern plate and the
focusing screen, the lens is used stopped down
to / 11. The developer is:

Metol ....
Hydroquinone .
Sodium sulphate .
Potassium bromide
Water ....

24 gr.
90 gr.
2 oz.
40 gr.
30 oz.

1.8 gm.

6.8 gm.

65.0 gm.

3.0 gm.

1000.0 c.c.

Sodium carbonate 'crvst. i 2 oz. 65.0 gm.

Water . . . . '. . 30 oz. 1000.0 c.c.

For use, equal parts are taken of A and B. In
very warm weather it is advisable to increase
the amount of bromide. This developer is
very well suited to intermittent work, as it has
excellent keeping qualities.

The exposed plate is placed, film up, in the
developer, covered, and left for five minutes.
At the end of development the image should
be clearly visible on the film surface. The
plate is now well rinsed in the dish for one
minute, and then flooded with the reversing
solution, by which the silver image is dissolved.
When rinsing the plate should always be tem-
porarily removed from the dish, and the dish
itself rinsed out. Otherwise solution is persist-
ently retained by the capillary space between the
plate and the dish bottom.

In place of potassium bichromate as the
reverser ammonium bichromate is used, this for-

THE WORKROOM

mula avoiding the slight opalescence of the film
caused by the potassium salt. The reverser is:

Ammonium bichromate . 300 gr. 17 gm.

Nitric acid (concentrated) 3 fl. dr. 93 c.c.

Water 40 oz. 1000 c.c.

Two or three minutes' immersion of the plate
in this solution will wipe out the densest silver
image. The plate, having been well swilled
again for one minute after removal from the
bichromate bath, is ready for re-exposure and
redevelopment.

Since during the re-exposure the plate must
be exposed in the developer glass side up, pro-
vision must be made that the film itself does
not come into contact with the bottom of
the developing dish. This is secured by stick-
ing (by means of coaguline) narrow strips of
glass on the bottom of the tray (preferably a
black one) at either end, so as to act as small
shelves for the plate. The previously used
developer is poured into the dish; one end of
the plate, itself held in a slanting position, is
immersed and then the other end of the plate
gradually lowered till it is completely immersed.
This method of inserting the plate must be
followed, for air bubbles in contact with the
film would be fatal. If the plate is first placed
in position on the shelves in the dish and the
developer then poured in bubbles are a moral
certainty. The plate is rocked in the developer
for half a minute, the dish placed on the floor,
and f of an inch of magnesium ribbon is burned
at a vertical distance of 3 feet above it. The
plate is then left covered for five minutes, when
secondary development will be complete. Fix
in an acid fixing bath and wash.

When soft results are required (as, for
instance, in making a slide from a photograph
with a delicate range of tone gradation), mag-
nesium light should not be used for the reversal
exposure. In such cases the weaker light of a
No. 4 flat-flame gas burner is to be preferred.
The light from a gas pedestal, about a foot
high and standing on the table, may be con-
veniently reflected by means of a mirror on
to the plate as it lies glass side up in the devel-
oping dish. The mirror is clamped at an angle
of 45 degrees to the vertical a foot above the dish,
and the gas flame is placed some 18 inches from
the mirror. The light is kept on during the
whole time of development, the duration of
development being now regulated by inspec-
tion of the plate and the character of the slide
required.

Even if there be no appreciable fog, short
immersion in a reducing bath always enlivens
and brightens up a diagram slide. The best
method of procedure is as follows: Place the
plate for a minute or so in water to which
enough potassium ferricyanide has been added
to color it distinctly yellow. Wash, and then
immerse in a very weak hypo bath. If there
has been fog or veiling of the background, and
it is not yet removed, repeat the process. Do
not expect the veiling to disappear in tbe
ferricyanide solution. This plan of applying
the Howard-Farmer reducer in stages removes
fog or veiling without detracting from the

pluckiness of the image, as the employment of
the mixed reducer is very apt to do.— British
Journal of Photography.

Lantern Slides Direct by Reversal

H. d'Arcy Power has perfected the exact work-
ing of the method of producing lantern slides (or
enlarged negatives) direct by reversal advocated
by the late Douglas Carnegie and by M. Balagny.
He has found that success with the method
depends upon giving attention to the following
points: (1) The length or strength of the first
exposure. (2) The depth of the first develop-
ment. (3) The second exposure. (4) The nature
of the reversing bath. (5) The clearing bath.

The first two factors are best considered
together. It must be remembered that the
first or negative image is to be removed, after
which the residual silver will form the perma-
nent positive image. If the first image is too
dense, it will leave, on removal, too little emul-
sion wherewith to form the second, and the
resulting positive will be too thin. If, on the
other hand, the first image is too thin, the
final positive will be dense and dull. This
is the problem of the autochrome develop-
ment. In lantern slides, such as Lumiere's
and Seed's, the correct development is that
which shall give a full detailed picture on the
emulsion side (being exposed through the
glass, the image builds from the glass upward).
There must be equally correct exposure. If
the exposure is too short, the final result will
be hard ; if too long, matters will be still worse,
for, though we cease developing when the
image has attained a certain density, there
will remain over a residuum of undeveloped,
but light-affected, silver bromide, which will
not be removed by the reversing bath; and,
on the second development, it will appear
and cause fogginess and a mixed image.
Theory and practice alike demand that the
exposure shall be so timed that the develop-
ment shall tend to stop at the attainment of
full density. Of the two evils, it had better
be under-exposed than over.

As regard the second exposure, we have a
plate covered, for the most part, with un-
changed emulsion, but being a negative image
next the glass, and we expose it to light through
the glass. Where the heavy deposit, made by
the high lights, lies, the light penetrates with
difficulty; yet in time it will penetrate and so
affect any unchanged emulsion then present,
which, on redevelopment, will fog the image.
This is what always happened before Balagny
suggested using the negative deposit as a screen.
If we under-expose, the detail in the high lights
will be lost, and the resulting image will be
weak. In practice, with a well-graded and
fully developed negative image, about three
minutes in bright, diffused light will give a
good deposit in the half tones and not fog the
high lights. Artificial light has not been found
satisfactory. In regard to the reversing bath,
the acid bichromate is better than an acid
permanganate bath, but the bath should not
be used more than twice in succession. It is
very inexpensive and easily mixed, and repeated

THE WORKROOM

use of the bath leads to yellow staining of the
gelatin. The redevelopment may be done
with the portion of developer used for the
first development; but on no account again
use a developer that has been on a reversed
plate, or strong staining of the gelatin will
ensue. It required not a little experimenta-
tion to confirm these facts.

Working details are as follows: (1) Expose
glass side outward, so that full development
may be obtained without fogging. (2) Develop
for greater density than usual in a negative.
(3) Wash for from three to five minutes. (4)
Turn film side down in a pan of water, with a
piece of black paper next the film, and remove
into full daylight for from three to five minutes.
(5) Return to dark-room, remove plate, face up,
to a bath of 0.5 per cent, ammonium bichro-
mate, acidulated with 1 per cent, nitric acid.
In three minutes the image will have dis-
appeared. (6) Wash, in dark-room, for fifteen
minutes. (7) Redevelop to rather more than
required density. (8) Fix in hypo. (9) Should,
as is often the case, the surface be soiled by a
slight deposit, one much like that on the sur-
face of glossy developing papers, wash over
with a little weak Farmer's reducer, and it
readily disappears. (10) Wash. The result-
ing slide should be identical in gradation with
its subject. It can be reduced, intensified, or
toned like any other lantern slide. — Cam. Craft.

Uranium Intensifier in Making Lantern Slides
Direct

W. L. G. Bennett, for making lantern slides,
prints, half-tone or line, direct in the camera
without preparing a negative, has worked out
the following process:

Develop in the usual way and, without fixing,
tone with uranium.

Expose to light, so as to print through the
uranium image a positive one on the remainder
of the sensitive film beneath.

Develop this new image, at the same time
removing the old one.

Lantern plates should be of the rapid brand.
A suitable developer is:

Sodium sulphite .... 360 gr.

Diamidophenol . . . . 15 gr.

Potassium bromide ... 3 gr.

Water 5 oz.

It will not keep good for more than about
four days.

The ordinary uranium toning bath ma)' be
used. The following has been found a good
formula :

A
Uranium nitrate . . . 40 gr.

Glacial acetic acid .... h oz.

Water

Potassium ferricyanide. . 40 gr.

Glacial acetic acid .... \ oz.

Water 10" oz.

Mix equal parts at time of use.

Develop in the first instance until detail is
visible in all parts, but not for so long as if

the plate was going to be at once fixed and
finished.

Rinse in two or three changes of water for
about two minutes, and then apply the
uranium toner. As soon as this has been
poured over, lift out the plate and, holding it
up to the red light, carefully note the density
of the darkest parts, immediately returning
to the bath. On again examining it in two or
three minutes the dark parts will appear much
lighter, as the red uranium deposit looks light
in the red illumination. W7ith a little practice
it is easy to judge when the original silver
deposit has been completely acted upon by the
uranium. Thorough toning is absolutely neces-
sary, but with fresh solution the action is certain
to be complete in five minutes or less, and it
is not always necessary to examine the plate.

After complete toning, again wash the plate
for two minutes or more in three or four changes
of water. Now lean the plate against a piece
of black or dark red paper and burn 2 inches
of magnesium ribbon at 4 or 5 inches' distance.

Now return the plate to the original devel-
oper. Judging the time of this development
is the most difficult part of the process. If
insufficient, the half tones will be fully out,
but the shadows far too weak. If overdone,
the slide may be foggy, but this is of less impor-
tance, as the fog may be cleared away by
subsequent reduction.

It should be continued until the positive
image looks strong and full of detail when
held up to a fairly bright red light, and the
whole surface looks black by reflected light,
the high lights being still blocked up by the
negative uranium deposit. At least, this is
the case with diamidophenol, but with rodinal
the uranium may dissolve away at once, in
which case development may be judged as
when making a slide in the ordinary way.

Fixing is carried out as usual. White light
should not be admitted until this is nearly
completed.

When taken out into the light the high lights
will very likely be found to be red or yellow,
owing to the uranium. Immersion in a solu-
tion of washing soda of any strength will
instantly remove this.

If the subject was one with average contrasts,
and the first and second exposures and other
details reasonably correct, the resulting slide
should be clear and bright, and need no further
alteration. Otherwise a certain amount of
veiling of the high lights may be present.

Solving an Old Winter Problem

Nearly every winter a number of profession-
als complain of lack of body in their negatives.
They blame the plates or the developer — but
the whole trouble, in nine cases out of ten, is
that they have not got into the regular swing
of their winter work.

As the days draw in, there is a general yellow-
ing of the light. If the operator goes on giving
summer exposures, after the light has lost so
much of its actinic power, his negatives are
certain to be under-exposed. The obvious
remedy is to give longer exposures.

THE WORKROOM

Even when the exposures are correct, there is
too often under-development. If the profes-
sional does nothing to raise the temperature of
his developing solutions in the winter, what
can he expect but under-developed negatives?
Every developing solution loses its power rapidly
as its temperature falls, and a very cold developer
can scarcely be called a developer at all. The
temperature should never be below 65° — and
the photographer who warms his solution up to
this point and keeps it there will have no reason
to complain of weak negatives.

Good, strong, plucky negatives, with plenty
of gradation and body in them, can be secured
in winter as well as in summer by increased
exposures and by raising the temperature of the
•developing solution. — Professional Photographer.

Laboratory Notes

Developers

Many photographers labor under the impres-
sion that metol cannot be made in this country.
Metol can be made, and is made, but not on a
sufficiently large basis or at such a price that it
solves the problem by any means. To establish
a chemical works that would supply any quantity
•of metol means the outlay of a good deal of money
— the ending of the war would mean competi-
tion with the European manufacturer, and the
American manufacturer naturally is not taking
any chances. We have been informed, however,
that one of the largest works in this country
expects to be able to supply metol under another
name in a few months, so that the supply is not
likely to vanish from the market.

Working to find a cheap and satisfactory
substitute for metol in the form of some altered
developer which was at hand, the possibility of
the use of some of the caustic alkalies, instead
of the alkaline carbonates, was tried, as being
of greater activity. These hydrates — sodium,
lithium, and potassium, respectively, have never
been used to any great extent — partly on account
of the action on the skin, and partly because of a
certain softening of the film, as well as a prejudice
against strong alkalies. They are generally
regarded by the non-chemist as simply stronger
carbonates (that is, stronger alkalies than the
carbonates), while in their action they bear no
resemblance to the carbonates.

Dr. Andresen first discovered their peculiar
action, and the well-known developer, rodinal, is
the best-known application of the hydroxides
to developers. Von Hubl, in Die Entwicklung
der photo graphischen Bromsilber Gelatinplatte bei
zwiejelhaft richtiger Exposition, has given at
some length the true explanation of this action
in the developer. The hydrogen in the hydroxyl
groups of the phenol or naphthol developers can
be replaced by potassium, sodium, or lithium,
whereas the alkaline carbonates simply make the
solution alkaline without changing the nature
of the developer. In other words, the hydrates
or hydroxides form salt-like compounds which
will develop even when nearly neutral, although
they work better when they are slightly alkaline,
while the carbonates form developers which
must be alkaline in order to develop in an
ordinary lifetime. These developers from the

caustic alkalies are energetic, do not fog, and
can be diluted ad libitum without changing any-
thing except time of development; also, they
keep splendidly. I have worked out some
formulae which will probably be of interest; one
of which, I think, is exceedingly valuable, i. e.,
the hydrochinon.

But, to begin with, buy your chemicals of a
supply house, but get them to get known brands.
Eastman is as good as any — possibly a little
cheaper for the same grade — and see that your
chemicals are C. P.; it is an outrage to have
anything else, anyway. When one walks ten
miles to get a picture and then has it spoiled
by some of the terrible messes that are sold as
photographic chemicals — well, we have all done
or will do it, and the state of mind is too well
understood to make it necessary for me to say
anything about it. Get Kodak chemicals and
you will not go wrong.

Hydrochinon. Add 1 gram of sodium bisul-
phite (dry) to 90 c.c. of water (distilled if you
can get it). When dissolved add 2 grams
hydrochinon. Now add 90 c.c. more of water,
dissolve 4 grams anhydrous sodium sulphite and
2 grams potassium hydrate (in sticks purified
with alcohol) or 1.5 grams of sodium hydrate
(in sticks as above). When dissolved add to the
first solution containing the hydrochinon and
filter. The water is better hot than cold and
better distilled than tap. When it is cold, bottle
with rubber stoppers and have the bottles full.
It will keep well and is a most satisfactory
developer. It may need a little bromide when
used with velox or cyko and sometimes does with
bromide papers. When used with papers it is
best used about 1 part developer to 1 of water.
For plates or films it may be diluted as necessary,
but bear in mind that the image will appear
very quickly and probably will require some
little time to build up.

The following formula will be found very good
for hydrochinon without metol:

Water 850.0 c.c.

Hydrochinon .... 6.5 gm.

Sodium sulphite . . 30.0 gm.

Sodium carbonate . . 100.0 gm.

Potassium bromide (saturated

solution) 20 to 30 drops

The image comes up immediately but time of
development should be about one minute.

Pyrocatechin. On the chance that some one
may be in touch with a small stock of this
excellent developer, I have worked out a formula
for it. To 100 c.c. of hot water add 1 gram of
sodium bisulphite, and when dissolved add 10
grams of pyrocatechin. In another beaker add
25 grams of sodium sulphite (anhydrous) and
10.5 grams potassium hydrate, to 100 c.c. of
water, and when dissolved add to solution con-
taining pyrocatechin. Filter and bottle. This
does not keep so well, but is the most energetic
developer of all, the entire image appearing as
soon as the developer sweeps over the plate or
film. This should be used about 1 part to 2 of
water for paper; for plates, films, or bromide
paper it may be diluted as seen fit. It is prob-
ably the best lantern-slide developer known —
in spite of the wearying repetition of the well-

THE WORKROOM

known statement re hydrochinon. Photog-
raphers tell themselves fairy tales like this until
they believe them themselves.

Paramidophenol. I will give two formulae
for this — one in line with the others and one
which will give rodinal: 100 c.c. of water as hot
as the hand will bear, say 80° C— add 30
grams potassium metabisulphite C. P. When
dissolved add 10 grams paramidophenol. Stir
well. In 50 c.c. of water dissolve 19 grams of
potassium hydrate. Now add the solution of
potassium hydrate to the solution of para-
midophenol very slowly, with constant stirring.
A heavy precipitate will form, and the solution
of potassium hydrate must be added until this
just dissolves and disappears. Should it be
found that the whole of the hydrate is added
and there still remains a precipitate very small
pieces of potassium hydrate should be added
until it dissolves. Should it not be necessary
to add the whole of the 50 c.c. of hydrate solu-
tion, the completed developer should be brought
up to 150 c.c. with water. This can be used
about the same as rodinal, although there is a
slight difference.

The next formula gives a solution which can be
used exactly as rodinal, and it may be substituted
for it in any way. It is of the same strength and
dilutions for rodinal or temperature tables will
serve for the developer about to be given:

Water 1000 c.c.

Paramidophenol ... 20 gm.

Sodium sulphite (anhydrous) 150 gm.

Lithium hydrate ... 8 gm.

Dissolve the sodium sulphite in about 800 c.c-
of hot water; when dissolved, add the para-
midophenol. Dissolve the lithium hydrate in
about 100 c.c. of water and add to the first
solution with constant stirring. A heavy pre-
cipitate will form, and the lithium solution should
be added until this precipitate just dissolves.
The bulk of the solution should be made up to
1000 c.c. and bottled. To all intents and pur-
poses, this is rodinal.

Should the given amount of lithium hydrate
refuse to dissolve the precipitate first formed, do
not allow the bulk to go above 1000 c.c, but add
tiny pieces of lithium hydrate until solution takes
place. Should the precipitate be dissolved when
only part of this hydrate solution has been added,
do not add the rest, but make up to 1000 c.c.
with water.

Pyro. Our old friend pyro if used with an
excess of sodium sulphite and a little potassium
jerro-cyanide (not ferri) will give excellent prints.
The following formula will be found to give
good results and is based on one given by the
Ansco Co.

No. 1

Pyro 12 gm.

Sodium sulphite . 80 gm.

Potassium ferrocyanide (not

ferri) 2 gm.

Water 500 c.c.

Xo. 2

Sodium hydrate
Water .

4 gm.
500 c.c.

Use one part Xo. 1 and one part Xo. 2 with
water 2 parts, and 3 drops of saturated solution
of potassium bromide to every 400 c.c. of de-
veloper. The potassium ferrocyanide takes up
all the oxidation products and reduces staining
to a minimum. The color is very good and the
developer may be used repeatedly without mater-
ially reducing its speed, which is about one to
one-and-a-quarter minutes. This also gives very
good prints for sepia toning. If diluted to half
strength it gives softer results without changing
the gradation too much.

Ferrous Oxalate. Ferrous oxalate also makes
a good developer for any paper and a formula
may be welcome.

Xo. 1

Ferrous sulphate 250 gm.

Sulphuric acid .... 3 c.c.

Warm water .... 1000 c. c.

Dissolve the salt in the water and add the acid
slowly.

Xo. 2
Potassium oxalate (neutral

(C. P.) 250 gm.

Potassium bromide ... 1 gm.

Warm water to make 1000 c.c.

Add 1 part of Xo. 1 to 4 parts of Xo. 2, not
vice versa. After development and without
washing rinse well in acetic acid; stop bath
before placing in hypo. Should this give greenish
tones, decrease the amount of bromide. This
has long been the great standby for bromide
papers in England, next to amidol, and is a very
good developer. Should there be a yellow stain
the following will probably remove it.

Alum (saturated solution) . 1000 c.c.
Hydrochloric acid ... 40 c.c.

Wash well after this bath.

Putting Sky or Figures in Landscapes

Putting Skies in Landscapes. Some new ideas
in enlargements have been worked out in the
last year, and it is possible that the readers of
the Annual may be interested in the reading of a
simple direct method of putting in skies or figures
in landscapes. The accepted method, according
to the "books," has been to make an exposure
for the landscape, then an exposure for the sky,
and then develop them together. Most of us
have tried that. We put a negative in the lantern,
threw it up on a piece of bromide paper, then
drew a light pencil-line where the skyline came,
made our exposure, then put our cloud negative
in the lantern and tried to fit those clouds to the
skyline. Then the exposure was made for the
clouds and the print was slid into the developer.
Then one of two things happened: Either the
sky came sailing up as black as ink with an
anemic-looking foreground, or else the fore-
ground came briskly into view leaving a sky
which was a weak disappointment or else white
paper. Oh, yes, the exposure was tested; but
in these days of high prices it finally dawned
upon me that to make a dozen enlargements and
put a sky in each, from twelve different negatives
each week, would require just thirteen weeks

THE WORKROOM

to ensure my name appearing in the petitions in
bankruptcy. Hence, the following method:

Make your enlargement of your landscape
negative, giving such exposure that it will develop
to the point where it is as dark as desired. If
your exposure is right it will go to that point and
stop. If your exposure is in excess, the print
when left in the developer until it stops will be
too dark. If the exposure is insufficient, the
bromide will be too light no matter how long it is
developed — and here let me say, that a bromide
print or a gaslight print will not develop more
than the exposure has determined.

Do not be afraid to leave your prints in long
enough. Insufficient development, caused by the
effort to save an over-timed print, never gives as
good a print as one which has had the exposure
so timed that, when the print has developed as
much as it will go, it is just dark enough. Herein
lies the cause of poor sepias, in almost every
case. When your prints are done developing
they will stop — dead. If they are not dark
enough, give more exposure. If they are too
dark — less.

We make, then, an exposure of our landscape
negative so that it will develop until it is dark
enough and then stop. Now place it for a minute
or so in a weak acetic acid stop bath, and then
wash for three or four minutes in the dark. In
the meantime, while it is washing, put your
cloud negative in the lantern, put an orange cap
on the lens, and after your enlargement has been
wiped off with a clean piece of cheesecloth, pin
it up on the easel. Now adjust your clouds in
the sky and give 50 per cent, more exposure than
you would on dry bromide, as the washing and
rinsing will slow your paper about that much.
Take your paper from the easel, and place back
in the developer, and develop your sky until it
suits you; rinse in a stop bath and fix.

The explanation of all this is, usually the sky
in a landscape negative is so black that it will
print as white paper in an enlargement. If it
does not, help it out a little with Bildup and
graphite, or some opaque on the glass side of the
negative, or with shading. The landscape is
developed as far as it will go, and then the
developer neutralized and washed out to a
great extent. The sky, being dense in the nega-
tive, does not print and consequently does not
develop with the foreground. The cloud nega-
tive can only print where there is unchanged
emulsion, i. e., the sky, and as a matter of course
will print wherever the sky is blank, but will not
print across treetops, houses, hills, etc. The
depth of tone of the sky is under perfect control
— in fact it is better to overexpose rather than
under, as it is under control. If the print is to
be sepia, the sky must be developed as far as
it will go, but this is usually easy to do. Sounds
complicated, but just try it.

Placing Figures in Landscapes or Interiors.
Suppose that we have a landscape which could
be considerably improved by the insertion of a
figure. Determine the size of enlargement desired
by making one of that size. Now, with a pair
of compasses, measure from objects in the enlarge-
ment the height of figure necessary and photo-
graph your desired figure in that size. Make
contact print of this figure-negative, preferably

on glossy paper so that it can be ferrotyped.
Cut out the figure with a sharp pair of scissors,
saving the part from which it was cut. Take
your landscape or interior, place it in the lantern,
and (with orange cap or lens) tack your cut-out
figure on the surface of the bromide paper with a
dab of library paste. This will leave (when the
exposure is made for the landscape) a masked
spot undeveloped, and after the first exposure
has been made and developed, we have the land-
scape, or what not, with the space occupied by
the figure, unexposed and undeveloped. Now
remove the little cut-out figure (it may remove
itself in the developer), and sponge the face of
the print to remove all traces of paste, rinse in
acetic acid stop bath, and wash for two or three
minutes. The piece of paper from which this
figure was cut, which we saved, is pasted on the
back of the negative of the figure to form a
mask. After our enlargement has been well
washed in the dark, we dab it off with cheese-
cloth and put it up on the easel. Our negative of
the figure with its paper mask on the back goes
in the lantern and we make an exposure, being
careful to give about 50 per cent, more than with
dry paper. This is then developed, and it will
be found that it is very little trouble to fit the
figure so closely this way that a very little spot-
ting will take care of all edges. It is possible to
put a figure from any size negative in any size
enlargement, by similar means, which will be
perfectly apparent after making one by this
method.

Putting Clouds in Lantern Slides

Again — clouds in lantern slides. I do not say
that it is not possible to put clouds in lantern
slides by double printing, any more than this is
true of bromide paper. It has been done by
patient men who are willing to spend hours of
time and dozens of sheets of paper or box after
box of slides — I say it has been done. Personally
I never knew anyone that could do it, had done it,
or had ever seen a slide made this way, and my
personal belief is that the only slide that was
made this way was one of a white crow.

Cloud negatives can be had in many varieties,
on film. The best ones I know of are sold by
Butcher & Sons, of London. They may be had
in all sizes, at a very small price, can be used
either way around, and for the method I give
here are the only ones that will do. Any dealer
can get them. They are made on a very thin
film stock, are quite contrasty, and come in a
large assortment.

Clouds are easiest to put in a lantern slide
with a cloud negative of lantern slide size or
quarter plate at most. After your lantern slide
is made, fixed, washed, and dried, adjust your
cloud negative on it so that the sky is to your
taste, place a lantern slide plate on top of the
cloud negative, and expose, being careful not to
get the clouds too dark. The slide of the land-
scape acts as a mask, and when this slide we have
just made is finished it will be found that the
clouds fit the horizon, no matter how the trees,
buildings, etc., project into it, because the land-
scape slide was used as a mask and took care of
all irregularities in the skyline. It works — I am
using it daily — when I make lantern slides.

THE WORKROOM

Lantern Slides in Color

Lantern slides in color have been a favorite
form of photography with me for years, and with
the disappearance of supplies for the Paget plate,
due to war conditions, the autochrome has come
into a little more prominence. There has been
more twaddle written about these plates than
any other one brand. Every user had a pet
method of his own, and the majority of those who
talked to conventions and associations fell back
on the "maker's formula used as directions gives
the best results, and you will find their little
instruction sheet gives all that can be learned,
except by experience." They used to say that,
"He who is self-taught has a fool for a teacher,"
and I often wonder whether this experience
business is not the same. Practice — yes, but not
experience. The autochrome has a plate speed — ■
as do all plates. It also has a development speed
in common with all other plates. Given these
two factors, it has been possible to work out a
method for autochromes that will do more than
the experience method in one way at least — it
always works.

First, exposure. Watkins makes a special
color-plate meter, which takes into consideration
the alteration in speed of the autochrome in
different strengths of light. Any plate which is
sensitive to the whole of the visible spectrum — or
to the greater part of it, such as the color plates,
the Wratten Panchromatic, and others — does not
have the same speed in weak light that it does in
strong. The stronger the light — other things
being equal — the faster the plate. This is not a
constant but varies on a law of its own which is
embodied in the color plate meter. If we take the
autochrome as No. 2 on the Watkins color meter
outdoors, on No. 1 indoors, it will be very close.
This is for a slide intended for the lantern, and I
project my slides to a brilliant six or eight foot
disk with a six ampere parallel arc lamp. If
intended for hand viewing they may be a little
denser. Dark objects naturally take more
exposure; but if you use the Watkins meter you
will find that the meter is built for objects of
about the nature of an open landscape, and that
there are factors given for (1) dark objects, old
buildings, etc.; (2) sky and sea, distant view,
etc., and if these are used with any judgment at
all failure through exposure is impossible. I
wish I could say as much for all the systems of
estimating exposure. The unwary amateur can
go into a supply-house and buy things which are
enough to make a thoughtful man miserable for
days when he thinks of what will happen when
the amateur and the catchpenny trinket go out
with a kodak.

Development of the autochrome is usually a
matter of a table which you look at in the dark,
and try to find where your graduate of developer
is at the same time. Honorable men say that
they have done this and got results by this
method, and I must believe them, else where do
we find ourselves with our confidence in the
veracity of the human race undermined? There
are two ways by which we can develop with
certainty: Using the special Wratten safe-light
for panchromatic plates, and the Watkins
thermo pyro developer, with a dilution of 1

part A, and 1 part B, 6 parts of water, we have a
factor of 5. Now, it is possible to see the image,
leaving out the skylines, as soon as it appears
if one will only wait a little after entering the
dark-room. Owing to what is known as the
Purkinje phenomenon, the green light of the safe
light, while not strong enough to fog the pan-
chromatic emulsion, is more easily perceived
by the eye than a red one of equal strength — i. e.,
the green light is safe because it is so weak — but
the eye can see with it. A red one which was
weak enough to be safe could only be seen by
the eye with some difficulty.

Taking, then, some prominent part of the
image as a guide, we develop factorially, giving
five times the appearance time. The plate is
then reversed in the bichromate reverser,
exposed to strong light, washed about thirty
seconds, and dried. After drying, it is re-
developed in the same developer that was used
for first development, as far as it will go, washed
for about sixty seconds in running water and
dried.

The bichromate reverser tends to toughen the
film and is much more convenient to use than
permanganate, as it has always been a pet
theory of the writer's that 1 gram of potassium
permanganate, properly used, would dye the
universe a rich pink, from his experiences in
getting it out of sinks, etc. The object of allow-
ing the plates to dry after reversal is to toughen
them so that there will be no danger of frilling.
Should there be any trouble from this source,
rinse the plates after reversal in the bichromate
solution, and then place for two minutes in a
solution of chrome-alum (which should be in
dark purple crystals, without any gray powder
on the surface — and will be if it is good) of a
strength of 1 per cent. — 10 grams to the litre.
Rinse, allow to dry, and re-develop, and frilling
will vanish.

Now after your plate is done. If it is over-
exposed it will be thin and weak. If it is under-
exposed, it will be dense and have no detail. If
you have plenty of detail and yet the slide is
too dense, use a larger factor next time. If
you have plenty of detail and the slide is all
right but is too thin, use a smaller factor next
time. Density of slides is like the length of a
piece of string — two men look at the same slide
and one says, "Thin," and the other says,
"Dense. " Put it in the lantern or in the diascope
— and you will soon know. Autochromes can be
made as thin as a Paget if desired — full exposure
and a factor a point or so larger.

The advantage of using the factor is that after
your first slide it is easy to determine just how
long to develop. With the other methods there
is enough variation in the speed of the plates in
development to throw one clear off the track.

The other variation that is possible is develop-
ment, is to use a 5 per cent, solution of potassium
metabisulphite for about four minutes in com-
plete darkness before first development. The
plate is immersed in this solution for about four
minutes in the dark, and then washed for a
couple of minutes — also in the dark — and may
then be developed by the ordinary ruby light.
This method works excellently, although it is
apt to vary the factor considerably, and not

THE WORKROOM

always to the same extent, as a varying amount
of the acid salt is always carried over into the
developer. Altogether, I would advise the use
of the special Wratten safelight for panchromatic
plates, and straight factorial development. If a
little care is used in varying the development
factor, or if necessary the plate speed of the auto-
chrome, it will be found easy to make these plates
as transparent as may be desired. Give exposure
enough so that there is plenty of detail, and
develop with the factor given until you see what
the first plate comes to and then change your
development speed by making the factor larger
if your finished plate is too dense, or smaller if
it is too thin. But after you have determined the
kind of autochrome you want, you will find that
using a plate speed of Watkins 2 and the factor
(normal or otherwise) given will give you as
good autochromes as can be made.

One must point about autochromes and I
must close. If for any reason you find blue fog
all over your slide — your camera or slide is
leaking somewhere. Hunt up the leak and fix it,
but to save the slide try this. Fix out a lantern-
slide plate and wash it and dry it, and then writh
Japanese water-colors or Velox water-color
stamps color it a light yellow all over. Place
this over your autochrome and you will find that
a very small amount of yellow in this cover-glass
will counteract the blue and your slide will be
useable at least. I have a birdseye view of one
of the eastern cities, which was a lovely blue
cast when completed owing to a leak in my dark
slide, at one end. A light yellow cover glass
corrected this and it is almost as good as if it
had been free from light fog in the beginning.

I find that I have neglected to give the formula
for the Watkins thermo pyro so will append it
here.

No. 1

Pyro 74 gm.

Potassium metabisulphite . 37 gm.

Sodium sulphite, dry . . 400 gm. '

Water to 2000 c.c.

No. 2

Sodium carbonate, dry . 400 gm.

Potassium bromide ... 18 gm.

Water to 2000 c.c.

Use one part of each with six parts of water
for autochromes. The factor is 5. This is the
standard thermo developer and can be used with
the dilutions given in Science and Practice of
Photography, by Alfred Watkins. — Marcus G.
Lovelace, in American Annual of Photography .

Pyro-stained Fingers

Pvro-stained finger-tips are unsightly enough
(says Photography and Focus), and have been
given as a reason against taking up photog-
raphy at all. There is no excuse for them if a
little care is used, first, to keep the fingers out
of the developer as much as possible, and then
to tackle any stain before it has had time to
get deeply into the skin and become indelible.

In a convenient position on my shelves I keep
a bottle containing a strong solution of sodium
sulphite to which a little acid has been added —
citric, hydrochloric, and sulphuric acid are
equally suitable, and the quantity is not im-

portant. A dram or two of strong sulphuric
acid may be added to half a pint of a 25 per
cent, solution of sodium sulphite. The result
is an evil-smelling liquid, half an ounce of which,
diluted with 4 or 5 ounces of water, may be
put into a wide-mouth vessel, such as a meas-
uring glass, which is placed beside the develop-
ing dish. If tbe fingers have to be put into a
pyro solution they may be dipped into this mix-
ture afterwards and then rinsed; or the mixture
may be used with pumice-stone in place of soap.
It works on pyro stains like magic.

Do Not Waste Developer

The present condition of the chemical market
calls for extreme economy in the use of develop-
ing solutions in your bromide and gas-light
printing.

Are you economizing?

It is not suggested that you should make up
your solution with less than the proper quantity
of developing agent. This would be the wrong
sort of economy. The proportions of the
solution would be destroyed and the result would
be disastrous. There are, however, methods of
economy that will conserve the developer with-
out affecting the resulting print.

It has been proved by comparative tests that
a given amount of developer in a 14 x 11 dish
will properly develop a certain number of
prints. In order to develop the same number of
prints in a 17 x 14 dish, approximately one-third
more solution is required.

The reason becomes quite plain when it is
remembered how rapidly coal-tar developing
agents oxidize when exposed to the air. The
14x11 dish exposes a surface of 154 square
inches of developing solution to the air. The
17 x 14 dish exposes 238 square inches, which is a
54 per cent, greater area of solution for the air
to act upon.

To develop the greatest number of prints
possible, with a given amount of solution, use a
deep dish as nearly the size of the print as is
consistent with convenience in handling your
work. The saving of developer is worth a great
deal more than the slight convenience gained
by using large dishes.

Another, and equally great, economy is
suggested by the glass rod, over which the
silvered paper of former days was drawn to
drain the surplus silver solution back into the
dish.

By carelessly tossing a 10 x 8 print from the
developer into the water, as much as half an
ounce of developer may be carried with the
print. Try it for yourself. Lift a 10 x 8 print
from the water with a quick movement and
allow the water to drain into a small glass
measure. Then estimate how much solution is
wasted in developing a gross of prints, if they
are handled in the same manner in carrying
them from the developer into the water and
fixing bath.

The economies suggested are not altogether
a matter of money saving; it is imperative that
the small quantities of developing agents
available should be made to go as far as possible
— Professional Photographer.

THE WORKROOM

Portraits of Men

"So many who begin to study dictate to Nat-
ure; if they have a man or woman model before
them they impose a preconceived attitude with no
relation to the mind or actual intention of the
subject. Today, toward the end of my career,
I still content myself with leaving my model to
himself or herself. I dictate no poses. At most,
I venture to prolong them, when I have found
what I seek."

These are the words of Rodin, the famous
sculptor. They are words to be remembered,
especially by the photographer who wishes to
make good portraits of his men sitters. If you
wonder why Rodin's method is more useful when
photographing men than it is when photograph-
ing women, look over a batch of photographs
that you have taken, and compare the men's
portraits with the women's. You will see that in
your pictures of men there is more often a strained
expression, an uncomfortable look, or an appear-
ance of affectation than there is in your pictures
of women. Why is this?

In the first place, it is much more difficult to
make a man feel at home in a studio than it is a
woman. Have you never noticed that when a
man enters the studio he usually begins to stroke
his hair, to adjust his collar, or to flick imaginary
spots of dust off his coat? He is not exactly
shy; he is simply out of his element and, as a
consequence, is extremely awkward. When a
woman comes into a studio she experiences little
more than the sensation which she feels whenever
she dresses for a dinner, a theater, or a garden
party. She s accustomed to making the most of
her appearance; she has a natural inclination to
try to look her best at all times.

Then again, a man usually looks upon having
his photograph taken as a disagreeable duty —
something to be got over as quickly as possible.
Going to a studio brings him face to face with a
question which has not usually troubled him very
much. He is forced to ask himself: "What do I
look like?" Up till now, he has been quite con-
tent so long as he has had a shave, clean linen and
boots, and his clothes well brushed and pressed.
The feeling that he is in the presence of a man
who cares for nothing but what he looks like,
makes him awkward and self-conscious. He
squares himself up for the ordeal; he holds his
body rigid, and resolutely stares at some mark on
the wall. The most the photographer can get in
these circumstances is a mere map — a hard,
lifeless picture.

"One can do nothing with a man in modern
dress; he is so stiff and ungraceful," says the
professional. But is this really true? Is there
any difficulty about photographing men which
cannot be overcome by observation and practice?
In making portraits of men, the chief difficulty is
to secure variety and naturalness, and to avoid
the appearance of strain or affectation. It is
admitted that this difficulty is largely due to the
severe lines of the modern man's dress and to the
self-consciousness of the sitters. Photographers
realize the difficulty, and the result is that they
easily fall into the habit of attempting nothing
but a few stereotyped poses which they have
found acceptable. They approach their sitters

with these poses already fixed in their minds;
they try, as Rodin says, "to impose a precon-
ceived attitude, with no relation to the mind or
actual intention of the subject."

These stereotyped poses, which are well known,
are the things most of all to be avoided. Sim-
plicity is the key to success. Life and character
are more valuable than grace in men's portraits.
If grace can be combined with the more valuable
qualities, so much the better; but the chief aim
should be to suggest the real qualities of man-
hood. Examine a collection of portraits by
modern painters and some of the best photog-
raphers, and you will see that, in their portraits
of men, they rarely attempt anything beyond the
simplest pose.

What is the secret of the success of Pirie
Macdonald, whose portraits of men are known all
over the world? It lies in the fact that Mac-
donald has trained his eye to see men as they
really are in ordinary life. He has set aside all
the conventional studio formulae for posing and
lighting. He aims at getting into his portraits
the very spirit and personality of his sitters.

If you want to get more character into your
portraits of men, you must, first of all, cultivate
the art of making sitters feel at home. This is
not easy. It cannot be picked up by reading a
text-book. As a hint, however, it may be said
that some photographers make the mistake of not
mixing with men away from business — they are
not ' ' men's men ' ' ; they never give themselves an
opportunity for cultivating companionship, and
they have never acquired that ease of manner
which enables them to conquer their own nervous-
ness in the presence of strangers. Obviously, a
sitter cannot feel at home if the photographer
himself is nervous and flurried. Advertisements
often appear in the photographic press for opera-
tors "clever at posing and lighting." It would be
difficult, however, to find an advertisement ask-
ing for an operator who must be tactful, well-read
and well-informed on current events; who must
be a good conversationalist, a keen observer of
human character and have a pleasant easy man-
ner. Yet these qualities go a long way in the
making of a successful operator.

When a man feels at home he unconsciously
takes certain poses; he has a habit of holding his
head at a particular angle, or, it may be, that
there is a peculiarity in the way he disposes of
his hands when he is resting or thinking. Or
again, you may notice some peculiar way a man
tightens or relaxes the muscles of his face, accord-
ing to whether he is interested, pleased or bored.

These poses and expressions are part of the
man. They are the distinguishing points by
which his friends recognize him in the street wheni
he is fifty or a hundred yards away. They are
far more important in a portrait than map-like
details of the features. Look for these character-
istics. Approach every sitter with an open mind.

It is useless to put a man in some prede-
termined position and pose him to suit your
notion of how he should appear. Of course,
many of the natural attitudes that a man takes
up are quite impossible from a photographic point
of view. But, watch for what you want, and
when you see it, do as Rodin does — prolong it. —
Professional Photographer.

THE WORKROOM

Clothes and Pose

The right rendering of a sitter's clothes may
give the photographer as much trouble as the
sitter himself, or rather, in this case, herself.
One has to remember that little imperfections
in the hang of a garment, which may not be
noticed unless specially looked for at the time of
posing, may be conspicuous in the finished print.
In this particular ladies are generally more
exacting than men; though when a man is
fussy about his costume he is far harder to
please. When there has been much trying of
different positions, shifting this way and that,
as one pose after another is found to be not quite
what is wanted, the clothes are almost sure not
to set right. In such a case, when the actual
position for the photograph is decided upon, the
best plan is to call the attention of the sitter to
its various characteristics, and then let her
abandon it for a few moments, resuming it
afterward straight away. If the interval is spent
in a walk across the studio, or in some other
free movement, any dragging of the costume will
be remedied of itself and in all probability there
will only be a very little to do in the way of
arranging. It is hardly necessary to say that
whatever arranging may be thought necessary
should not appear as such in the picture. Any-
thing that hangs must seem to hang quite
naturally, however carefully it may have been
necessary to place it in the exact position
required. When draping is done it should at
least appear to be free and natural, and not
dragged this way and that to show a rounded
shoulder or to conceal a hollow in the neck.
An easy plan is to determine before attempting
the actual draping what is to be done, and then
to endeavor to do it straight-away, or at least
with the very minimum of alteration. With
most lady sitters an easier method still is to show
them what is required and leave them to carry
it out. — Photography.

Still-life Work

Photographers who make their first attempts
at groups of flowers or fruit are sometimes misled
by the advice that is given them to use mounting
boards as backgrounds, without the qualification
being added that only cold shades of gray should
be employed. The warmer tones do not photo-
graph at all as they look, and there are curious
irregularities about them.

Such colors usually come much darker, even
on orthochromatic plates, but there are excep-
tions. The writer once did a great deal of
photography in a room papered with a pale
reddish paper with no pattern on it at all. It
made a very good background when one got
used to it and realized how it would come out,
which, in spite of its tint, was not far short of
white.

For this reason, then, it is best to keep to
white, black, and intermediate shades of gray,
of which any dealer in art mounting papers or
in crayon papers has a wide variety.

Instead of buying such papers for backgrounds,
we may use cardboard painted over with dis-
temper. This can be made on a small scale by
dissolving a pound of size with its own bulk of

hot water, and then mixing in with it a thick
cream of whiting and water, to which a trace
of blue may be added to make it look a little
whiter; it will not affect its photography. The
white can be toned down by the addition of
water-color ivory-black, adding a little, well
mixing it in, and painting a sheet of card with
the mixture. Then more black may be added
and another sheet painted, then more, and so on.
Each sheet of card may be painted on both
sides with two different shades, and in this way
four sheets will give us eight tones, which will
be ample for all ordinary requirements. The
distemper will be found to dry much lighter
than it appears when wet, and this must be
allowed for. — Photography.

Reflections

When we come unexpectedly upon a beauti-
fully clear sheet of water, reflecting the banks
and woodland round it and the sky above, the
delight which so beautiful a spectacle gives us
often leads to the camera being set up and a
plate exposed. From a pictorial point of view
such an exposure is usually a failure, however
perfectly the reflection may be recorded; and it
is not difficult to find the reason for this.

In the first place, the pleasure given by the
sight of very perfect reflection is due to circum-
stances which the photograph mostly leaves
out of count. The reflected picture depends very
largely upon its coloring, and we should need an
Autochrome or a Paget to record that. A little
critical comparison of the original with the
reflection will show us that the colors in the
reflection are very much more intense than they
are in the original, and the color contrasts are
consequently all greater.

Physicists explain this as due to the suppres-
sion of much of the white light which reaches our
eyes from the direct view and dilutes all the
coloring. Owing to the phenomena connected
with the polarization of light, the reflection from
the water neutralizes a great deal of this white
light, and so intensifies the coloring.

This phenomenon is particularly noticeable
in the case of a landscape with a blue sky with
white clouds. The blue is very much more
intense in the reflection, and we may often see
fleecy white clouds standing out strongly against
it, which when we raise our eyes and look at the
sky itself are quite hard to find. In fact, it has
been suggested that use should be made of this
phenomenon to secure cloud pictures.

Brilliancy of coloring being necessarily lost
in the photograph, the reflection looks dull and
heavy, and, except as a reminder to the person
who took it of the beauty of the scene, the picture
is disappointing.

There is another reason why a very perfect
reflection is pictorially unsatisfactory, and that
is connected directly with its very perfection.
Balance in a picture is a necessity, but exact
symmetry is a fault. A landscape, however well
composed in itself, when duplicated upside
down by a reflection is spoiled. A broken
reflection may help it, but a perfect reflection
never. Most of us, at some time or other, have
got photographs which can be looked at either

THE WORKROOM

way, so exact is the duplication, but then they
are only curiosities.

This matter is made worse when, as often
happens, the reflecting surface is a river with
sloping, tree-covered banks. The photograph
then may be symmetrical both ways, a V-
shaped sky at top between the trees, and an
inverted Y-shaped reflection between reflected
trees, the lines of the subject having an X-like
form.

These and other reasons, to go into which
would involve a lengthy consideration of the
whole subject of pictorial representation, lead
us to the conclusion that the perfect, mirror-like
reproduction of a landscape in calm water,
beautiful as it is to the eye, has an appeal which
cannot be conveyed by any camera rendering.
It is a thing to be enjoyed in the reality for its
beauty of coloring and rich suggestiveness; but
it is hardly a thing to be photographed, except
for a personal memento. — Photography.

A Simple Process for Making Sepia Paper
with the Salts of Iron

The production of photographic prints in
sepia by the platinum and gelatin process is
well known and understood by photographers
generally. There is another method of obtaining
sepia prints by the use of the salts of iron. The
process for preparing the paper is extremely
.simple and easy in manipulation, so that anyone
desirous of making their own brown prints or
sepia paper can readily do so.

Some classes of work demand a cheap paper
for producing sepia prints, and the process about
to be described will, in most cases, meet the
requirements.

, It will be necessary, in the first place, to select
suitable paper, because any kind of paper cannot
be used; most of the commercial papers contain
impurities that would give results which would
prove unsatisfactory, producing metal spots and
other defects. The special plain papers sold by
large photographic stock dealers is entirely
satisfactory, and can be purchased in sheets at
50 cents per dozen. The heavier rough-surface
papers are also suitable, and Whatman's hot-
pressed drawing paper can also be used. The
only defect of the latter is that the finished print
is somewhat hard and contrasty; if a negative is
used with this paper that is a little thin, then
excellent prints can be obtained. It will be
necessary to have a drying closet heated to 120°
F., in which to suspend the paper as soon as it is
coated. Quick drying produces a paper that
enables the printed image to keep well upon the
surface. A few clean wood photographic clips
will be required, which should be kept entirely
for this class of work.

The sensitizing solution is made up as follows:

Distilled water
Ammonia citrate of iron
Nitrate of silver
Tartaric acid .
Gelatin ....

8 oz.

384 gr.

80 gr.

60 gr.

Soak and dissolve the gelatin in a portion of the
water; also the nitrate of silver and tartaric acid,
using three ounces of water to dissolve the iron

salt in. When all are dissolved, mix together
and filter; pour this mixture into a clean porce-
lain or glass tray and float the paper thereon.
Raise the paper, allow the excess of solution to
drain back into the tray by placing one of the
corners of the paper against one corner of the
tray, then suspend it in the drying closet. These
operations must be conducted under a weak
yellow light, because both the sensitizing solution
and the coated paper are very sensitive; in
fact, the sensitiveness is four or five times as
great as blue-print paper. As soon as the paper
is dry it must receive a second coating, taking
care to reverse the position of the sheet of paper
when replaced in the drying closet.

A moderate quantity of this paper should be
prepared for use and used up without too much
delay between the time of coating and printing.
The printing must be made moderately deep,
and as soon as the prints are made they should
be placed into clean cold water, and washed
three or four times, then placed into a very
weak solution of hyposulphite of soda, made up
of hyposulphite of soda, \ ounce; water, 25
ounces. A few minutes will suffice to fix out
any trace of the salts of silver. The prints
should then be washed in half a dozen changes of
clean water, blotted off in clean blotters, then
suspended by a clean wooden clip to dry. If a
number of sheets of paper of different surfaces
have been coated, it is advisable to roll the
paper upon itself, wrap it in a sheet of hard
glazed tissue paper (the kind that is made to
imitate waxed paper), then place it in a suitable
tin case — those that are used for the storage of
platinum paper are well suited for this purpose
■ — and the lid of the tin case bound round with a
piece of rubber tape, such as is used for bicycle
tires This will ensure a fairly good air-tight
joint.

A few trial prints should be made from different
kinds of negatives, which will soon enable the
printer to ascertain the best class of negative
for the work. Care must be taken not to have
the hypo solution at all strong, otherwise the
image will bleach too much and the color will
also not be satisfactory. The solution will not
keep when once mixed, so no more should be
made up than is required for the amount of
paper to be coated.

Portraits at Home

Why are professionals generally so shy about
taking up at-home portraiture? It is profitable
work and there is plenty of it; yet it is practically
untouched by the majority of photographers.
There is nothing undignified about it; and,
where the photographer has any ability for
adapting his methods to circumstances, there is
nothing very difficult in it.

The first thing to consider is how to get the
work. No definite laws can be made on this
point. The methods must vary according to the
needs of different districts. The local pho-
tographer knows his own neighborhood best.
There are very few districts, however, where a
neat, well-worded circular would not be effective.
Main- people have decided objections to visiting

THE WORKROOM

a studio, and others, through ill-health, cannot
leave their homes. It could be pointed out to
these people that photographic processes and
methods of working have been so much improved
in recent years that there is now no need to go to
a studio to get a good portrait, but that excellent
pictures can be taken in their own rooms.

Another good plan is to get a few good speci-
mens of home portraits, and to draw special
attention to them in your window or show-case.
It is also a common practice for a photographer,
when he has an appointment in a certain district,
to choose a few good residents and write to
them stating that he will be working in their
neighborhood on such a day, and that if they
require any home portraits taken, he will be
pleased to make an appointment. It may be
that some old lady has been promising her
family for years that she will have her photograph
taken one of these days; the letter arrives and
the family use it as a means of inducing the old
lady to make up her mind. This method is
quite successful, but many professionals consider
it undignified. There are many other ways of
securing orders, but the man with the business-
getting instinct will soon find them out for him-
self, once he is convinced that the business is
there.

Having secured an order, the next point is to
carry it out. Light is the first consideration.
Professionals who work in studios and who
rarely attempt to make portraits anywhere else
are apt to magnify the difficulties in getting
well-lighted home pictures. The average draw-
ing-room is not a bad place for portraiture. If,
however, you should be asked to work in a
■drawing-room on the ground floor, where the
light is obstructed by trees or buildings, ask to
be allowed to see the rooms upstairs. Very often
a small room with a large window, where the
light is not obstructed, can be found, and made
into an excellent studio. All operators will
understand that, where possible, the window
should not have the sun shining through it.

A reflector will be necessary to relieve the
shadows. If you do not carry one in your outfit,
you can make one by hanging a sheet over a
clothes-horse or the back of a chair. A very
good head-screen can be made by stretching
butter muslin over a child's hoop. By fastening
a walking-stick to it, it can be held between the
window and the sitter's head during exposure.
At this time of the year, when the hours of
daylight are few, it is a good plan to be prepared
with a small flash-lamp.

Because sitters are photographed in their own
homes it does not follow that the portrait need
be subordinated to chairs, tables, and wall-paper.
The background should be watched very care-
fully; old china, brass candlesticks, or other
objects with reflecting surfaces, should be
removed from behind the sitter. When the
pattern of the wall-paper is obtrusive, it can be
covered by a background. If you are not pro-
vided with a complete home portrait outfit,
which includes a background, the simplest way
is to have a light flexible ground tacked to a
roller, and to fasten the material to the wall with
push-pins and let the roller hang down. The
weight of the roller keeps the background taut.

With regard to apparatus, remember that you
are going to a customer's private house. There-
fore do not go with a battered old camera under
your arm and a muddy tripod over your shoulder.
Have the camera and fittings in smart-looking
cases, and have the tripod folded up and neatly
strapped. Your whole outfit should be smart
and professional-looking. Nothing looks worse
than to go into a well-furnished drawing-room
and to set up a dilapidated old camera. Don't
think that customers take no notice of your
apparatus; they do notice it — and they notice
your boots and clothes also.

You cannot as a rule use long-focus lenses,
because most of your work will be in cramped
spaces. Two good lenses will be all that you
require. One should be a good anastigmat,
working at a large aperture; and the other a
wide-angle lens for taking rooms or for working
in very confined spaces.

The tripod should be fitted with stays to
prevent slipping. If the ordinary field tripod
is used, corks on the points of the legs will keep
it from slipping on stone or polished hardwood
floors.

Other matters such as posing, lighting, getting
the sitter's attention, and exposure can very well
be left to the knowledge and experience you have
gained in the studio.

There is a growing demand for home por-
traiture, and the demand will continue to grow. —
Professional Photography.

Blue Prints

The following formula by Dr. Lux in the
Papier Zeitung will be useful to those who coat
their own paper:

For a very hard, smooth-surfaced, wood-
pulp paper the following is recommended:

Green ammonio-citrate of iron 2 ozs.

Water 4 ozs.

Potassium ferricyanide . . 320 grs.
Water 2 ozs.

Dextrine 96 grs.

Water 2 ozs.

Potassium bichromate . . 1 gr.

Water 10 mins.

These are then mixed together to obtain suffi-
cient sensitizing solution on the surface and the
bichromate makes it insoluble.

For a very soft paper with plenty of linen
the sensitizer should be:

Green ammonio-citrate ... 2 ozs.

Water ........ 4 ozs.

Potassium ferricyanide . . 320 grs.

Water 12 ozs.

Papers prepared with these solutions will keep
for a month; if ten grains of oxalic acid be added
a more sensitive surface is obtained, but the
papers do not keep so long in perfect condition.

THE WORKROOM

Better Bromides by Redevelopment

It may be stated as an incontrovertible fact
that on bromide paper, prints, whether made
direct or by enlargement, may be improved,
not only as regards the scale of gradation,
but also in respect of color. The operation is
so simple, carried out as it is, not in the dark-
room, but in full artificial or daylight, that it
behooves every worker who desires to get the
best out of his negatives to give it a trial.

The writer has been interested in this branch
of bromide work for a considerable time, and
although all the available formulae were given
a trial, regularity of result could not be depended
upon. As in the case of the little girl, "when
they were good, they were very, very good;
but when they were bad, they were horrid."
The horridness took the form of pinkish and
brown stains extending over the greater part
of the surface of fully 50 per cent, of the prints,
and these stains could not be avoided, in spite
of the most scrupulous attention to washing.
It appeared, therefore, that the existing for-
mulae required improving, and a somewhat
extended series of experiments enables the
following instructions to be given with a feeling
of confidence that successful results will be
obtained.

Two methods are open according as a cold
engraving black or a warm black tone is wanted ;
for the first of these the following bleaching
solution is prepared:

Copper sulphate .... 240 gr.

Sodium chloride (cooking salt) 120 gr.

Sulphuric acid .... 20 min.

Water 12 oz.

Extreme nicety of weighing is unnecessary,
and an avoirdupois | and \ ounce may con-
veniently be taken.

The bromide print, made in the usual way
with any developer preferred, fixed, washed,
and dried, is soaked a few seconds in water,
and then flowed with an ounce or so of the
bleacher. After the image has been converted
to a pale brown, the solution is poured away,
and the print washed in running water for five
minutes, longer washing being not only unneces-
sary but injurious. Here let it be said with
emphasis that the bleaching solution once used,
must be discarded; to return it to the stock
bottle, from a mistaken idea of economy, is to
solicit trouble for the future.

The print is now ready for redevelopment,
and one, and only one, developer may with
certainty of result be employed, namely, acid
amidol. The bleacher is acid, and practice
has proved that the developer should be acid
also. It is prepared at the time of using by
dissolving a small teaspoonful of sodium sul-
phite (the anhydrous form is handy, owing to
its ready solubility) in 3 ounces of water, and
adding a small saltspoonful of amidol and
about 30 minims of sodium bisulphite lye; this
is sufficient for a couple of 12 by 10's. Theo-
retically, a second fixation should not be neces-
sary, but tests with sulphide have revealed
the presence of unconverted silver chloride,
even when development appeared complete

and a brief immersion, say a couple of minutes,
in the usual hypo bath should now be given;
a sufficient wash completes the operation.

To obtain a warm black tone, the print is
bleached in a solution consisting of a teaspoon-
ful of common salt dissolved in a couple of
ounces of water, to which is added 1 dram of
sulphuric acid, and sufficient of a strong solution
of potash permanganate to give it a rich crim-
son color. As bleaching proceeds, the solution
loses color, and further small additions of per-
manganate are made until the image has entirely
vanished. If sufficient salt and sulphuric acid
are used, there will be no staining, and a wash
for a minute or two will leave the print pure
white and ready for redeveloping.

The same developer, acid amidol, is employed,
but development will be rather slow unless the
dish is carried out of doors and held under
the sky, when it will be complete in about one
minute if the daylight is good.

When the nature of the subject calls for a
less intense color than black, a rich dark sepia
is obtained by the application of ammonium
sulphide, 30 minims to 2 ounces water after
the use of this bleacher.

Note. — Sodium bisulphite lye consists of:

Sodium sulphite (cryst.) (or

anhydrous, 2\ oz.) . . 5 oz.

Sulphuric acid 6 drams

Water . . . . . . . 10 oz.

The sulphuric acid is poured into the water,
the sodium sulphite added, and the bottle is
shaken until solution is complete.

This lye is a valuable addition to fixing baths
for negatives and bromide prints in the pro-
portion of about 3 drams per pint of bath. —
Amateur Photographer \

Random Notes

Many professionals do not realize how much
their work should be improved by the use of a
long-focus lens. Examples of distorted perspect-
ive, caused by working with the camera too
near the sitter, can be seen in many windows and
showcases. There are bust portraits with the
near shoulders looming up half as large again
as the far shoulders; there are three-quarter
lengths with hands out of all proportion; and
there are large heads with noses that look so
bulbous that they are a libel on the sitters.

In some studios a short-focus lens is the only
one that can be used when full or three-quarter
length portraits have to be taken. In these
studios, however, the operator should be able
to use a fairly long-focus lens for his bust por-
traits, even if he has to change his lens for the
styles. There is always a danger, where space
is limited, of getting into the habit of making
one lens do for all kinds of work, When this
happens, the bad effects are very soon seen in the
portraits.

Apart from the question of focal length, the
choice of a lens is essentially a matter of personal
taste — like the choice of a wife. How should
anyone else know whether you are likely to
fancy an anastigmatic brunette or a soft-focus

THE WORKROOM

blonde? Many of the leading professionals use
modern anastigmats, whereas other shining
lights in portraiture stick to the old types of
portrait lenses. Some go in for clean-cut detail
in their negatives and get softness by various
dodges in printing; whereas others prefer to get
softness by using a lens that gives diffusion.

Here are a few useful Don'ts for air-brush
workers: Don't use the ink too thick; the con-
sistency of writing ink is about right. Don't
forget to clean the air-brush after using it. Don't
lay the air-brush down on a table or other fiat
surface; hang it upright in the clip provided
for the purpose. Don't put your finger over the
front of the air-brush to see whether the needle
is sharp; you will find that it is, but after being
touched a few times it will be no longer straight.
Don't let anyone but an expert try to repair your
air-brush; send it to the makers. — Professional
Photographer.

Masking Lantern Slides

When masking lantern slides, trouble is some-
times experienced in getting all corners of the
mask right angles. To cut out the mask in thin
opaque paper is perhaps the best mode of pro-
cedure, but when slides are wanted in a hurry
and in large numbers this method often takes
too long. The following method has proved
exceedingly useful, being at the same time quick
and effcient: Obtain a sheet of squared paper
used for mathematics and obtainable at most
stationers. This is usually ruled in inch squares,
and again subdivided with fainter lines into
tenth of an inch squares. If the slide is placed
with the film side up and with the squared paper
beneath, the lines should just show through.
Incidentally the extent to which the lines show
through the slide gives some guide as to whether
the slide is of the correct density. The first side
of the slide is then masked with a binding strip
slightly moistened. This strip is placed along
the slide, using the line underneath as a guide.
The next strip is then placed along any con-
venient line, which will, of course, be exactly at
right angles, and so on until all sides have been
masked. One strip for each side is usually
sufficient, but two or more can be used if neces-
sary to cover the space. With a little practice
this method can be carried out very quickly,
with certainty of getting all corners right angles.
— Amateur Photographer.

Magnifiers

Magnifiers used on cameras which can be
focussed alter the f number in the same way and
to precisely the same extent as they alter the
size of the image of a distant object. If this
is halved, the f numbers will be halved also,
and so on.

Positive or magnifying lenses shorten the focus
of the lenses with which they are used; negative
or reducing lenses lengthen it.

All combinations of camera lenses and mag-
nifiers are makeshifts. They may serve, but not
so well as a complete lens of the required focus
would do. — Photography.

Under this heading it is proposed to include each
month a list of all the U. S. Patents; and brief
abstracts of the more important, and to include also
such foreign patents as present special features.

Copies of any patent can be obtained from the
Commissioner of Patents, Washington, D. C.
Price, five cents each.

Exposure Meter. W. W. Venable. 1207448..
Film Device. H. K. Hennigh. 1207036.
Developing Process. F. W. Hochstetter.

1207042.
Photographic Process. W. F. Fox. 1207527.
Apparatus for Color Work. W. H. Doherty.

1207513.
M. P. Film Holder. W. W. Kercher. 1207298.
M. P. Film Winder. N. Power. 1207211.
Range Finder. R. Bennett and R. E. Cox.

1207475.
Method of Obtaining Ultra-violet Rays. J.

von Kowalske-Wierrisz. 1207347.
Finder. J. F. Polhemus. 1206372.
Color Photography. I. Kitsee. 1206000.
Projection Apparatus. L. J. Auerbacher.

1206287.
Toy M. P. Machine. H. V. Ashby. 1206286.
M. P. Projector. E. A. Ivatts. 1205996.
M. P. Machine. G. W. Nusbaum. 1206357.
Camera. H. I. Williams. 1208066.
Camera Device. E. S. McAll. 1208344.
Camera. H. L. Ide. 1208320.
Camera. H. L. Ide. 1208321.
Camera Attachment. J. R. Montague.

1208617.
Film Holder. L. J. R. Hoist. 1208558.
Shutter Attachment. J. E. Payne. 1208711.
M. P. Apparatus. H. Russak and O. V. Han-
stein. 1208664.
Dental Film Apparatus. H. F. Waite. 1208244.
M. P. Apparatus. N. Power. 1208646.
M. P. Apparatus. N. Power. 1208647.
M. P. Apparatus. I. Kitsee. 1208573.
Photographic Apparatus. A. H. Wynkoop.

1208071.
Photometer. A Blondel. 1208279.
M. P. Apparatus. L. Stanek. 1208685.
M. P. Apparatus. D. F. Comstock. 1208490.
X-ray Apparatus. E. W. Caldwell. 1208474.
X-ray Tube. C. A. Friedrich. 1208128.
Magazine Camera. J. P. Hansen. 1210164.
Camera Device. W. H. Morris. 1209745.
M. P. Apparatus. J. G. G. Ross. 1210212.
M. P. Apparatus. R. N. Wilkinson, Jr.

1210241.
Finder. J. Becker. 1210134.
Finder. J. Becker. 1210135.
Finder. J. Becker. 1210137.
Focus Finder. J. Becker. 1210136.
Film Drier. L. Gaumont. 1209696.
Mounting Device. A. E. B. Smith. 1210226.
M. P. Apparatus. F. C. Hamilton. 1210063.
M. P. Apparatus. N. Power. 1209755.
M. P. Film Reel. L. Sollisch. 1210113.
M. P. Device. N. Power. 1210203.
M. P. Apparatus. F. C. Hamilton. 1210064.
X-ray Apparatus. F. L. Satterle, Jr. 1210215.

-NEW SERIES ^ WILSONS PHOTOGRAPHIC MAGAZINE

f 5 CENTS A COPY

$1-50 A YEAR

THE PHOTOGRAPHIC
JOURNAL OF AMERICA

VOLUME LIV

MARCH, 1917

NUMBER 3

EDWARD L' WILSON COMPANY- INC
122 E - TWENTY-FIFTH ST - NEW YORK

a- w w w w w w w w e^

HAS THE QUALITY CIRCULATION
OF THE PROFESSION

THE OLDEST PHOTOGRAPHIC MAO AZTNE TN A MPR TH A

In 1909 it was stated of

Cyko Paper

"Each grade of Cyko has more latitude,
plasticity, chromatic rendition and proper
scale of gradation than any other paper.
Its scope is unlimited"

and yet its scope has been enlarged
every year since, so tHcit 111 19 17 it

has taken the place of all former printing
processes, because it has the brilliancy
of platinum, and delicacy of carbon —
and in the Enlarging grades all of the
above mentioned qualities with speed
almost equal to Bromide paper.

CYKO is the single and universal expression
of photography today

Ansco Company

Binghamton, N. Y.

By RUEGGE

MILWAUKEE. WIS.

PHOTOGRAPHIC

•JOURNAL-
-if AMERICA '

VOLUME LIV

MARCH, 1917

NUMBER 3

PROFESSIONAL PORTRAITS OF CHILDREN

By JOHN A. TENNANT

PERHAPS the most obvious mistake
made by professionals in their por-
traiture of children lies in the lack of
reverence and simplicity which marks
their treatment of children as subjects.
The influence of environment, the effect
of the strangeness of the studio and its
methods upon the child, are points which
rarely receive much consideration, al-
though they exercise a real and direct
influence upon the result of the sitting.
The beautiful reserve of childhood, the
natural sensitiveness and dignity which
restrain most children from any famili-
arity with strangers until there has come
a mutual understanding, are things
which the average professional recognizes
only to brush aside as undesirable. His
method, as my observation has told me,
is to carry the child through the sitting
on a wave of excitement. There is a
feverish and noisy activity in all his deal-
ings with the little ones from the flurry of
"fixing up" both children and the studio
for the event to the end of the perform-
ance under the skylight. The shake-up

in the studio, the hurried rearrangement
of accessories, the exaggerated funniness
of the operator, the anxiety of the mother
or nurse accompanying the child, and the
general hubbub all combine to develop
in the little sitter the very qualities which
make a successful portrait the most
remote of possibilities. What is the
remedy? Granted for the moment that
the photographer has a strong liking for
children and is willing to take the pains
so essential to the best results, how shall
he overcome the real difficulties created
by the strangeness of the place and its
people, and make pictures portraying his
little visitors as they are in the familiar
environment of home life?

A great deal may be accomplished by
taking away from the studio-methods all
that emphasizes its unlikeness to home
and its surroundings. Let special ap-
pointments be made for children's por-
traits wherever possible, and set apart a
children's reception or waiting-room for
their sole use. Furnish this room in a
simple but attractive way with pictures

(93)

PROFESSIONAL PORTRAITS OF CHILDREN

of children, furniture suitable for juvenile
uses, a few toys, animals, and a simple
game or two to beguile the time of wait-
ing. A large music-box, set into the wall
as a fixture, will often prove itself a
potent charm with timid or obstinate
children. That the room should be
clean, bright, and sunny, cool in summer
and warm in winter, goes without saying.
The aim in all this is, of course, to put
the child at its ease and to overcome any
feeling of constraint or shyness. The
photographer should meet his little vis-
itors in this room, and in a few minutes
or after a half-hour's wooing, perhaps,
become acquainted with the general
characteristics of his subject before the
sitting begins. Those who accompany
the children should be warned, if needs
be, not to discuss the sitting, or to in-
struct their charges concerning their be-

By E. B. CORE, NEW YORK

havior, or bother them with too much
preparation. Everything else being fav-
orable, the children's brief stay in such
a room cannot have but a good effect on
the after-work. It should, indeed, con-
vey the impression that the photog-
rapher's studio is almost as nice a place
as the familiar play-room at home.

Meanwhile, all the preparations neces-
sarv in the studio should have been com-

pleted, so that when the child comes
under the skylight the place is quiet and
ready for the sitting. One assistant to
change the plates, or focus, may gener-
ally be retained at the camera with
advantage, although this was not fol-
lowed by such skilled workers as Mr.
Core. The assistant should be well
trained to play his part without attract-
ing attention. Wherever possible all

BY E. B. CORE, NEW YORK

friends and relatives should be kept out
of the studio during the sitting, but most
often it will be needful (essential with
young children) to permit a single helper
to accompany the child.

In the general handling of children the
photographer must be guided by his
quick perception of the character of the
child with whom he has to deal. Some
children are easily excitable, and care
must be taken not to rouse them over-
much ; others are retiring and lacking in
animation for one cause or another.
These latter may be skilfully interested
by the use of a little diplomacy. The
photographer is usually a good judge of
character, acquiring the habit uncon-

BY o. m. gatschene

THE BURKHOLDER STUDIO
MANSFIELD. OHIO

PROFESSIONAL PORTRAITS OF CHILDREN

sciously in his daily work, but he will
need all his knowledge of human nature
for successful work with children. Thus
he should know how to tell the sick child
from one that is well ; the peevish, fretful,
nervous child from one laboring under
temporary timidity. Some children re-
quire a little "fuss" before they will be
"drawn out;" with others quietness is
the easiest way to win; and some are
best left severely alone. A display of
noise and bustle is the common blunder,
and the lavish use of novelties of one
sort or another may also be mentioned as
requiring restraint. One thing is cer-
tain, if friends or relatives are permitted
to be present at the sitting they should
not be allowed to interfere with or in-
struct the child. In dealing with very
timid or young children the mother or
friend may advantageously help in any
physical handling of the child — this
detail being one to which many children
are strangely sensitive — but her help
should be given with eye and hand rather
than by word of mouth. In other words,
the sitting should be as far as possible a
matter between the photographer and
his subject, free from outside interruption
or interference.

With very young children difficulty
will be experienced in getting their atten-
tion directed to any one spot for the
moment needed for exposure. The best
course to follow in such cases is to get the
focus, put in the plate ready for exposure,
and then, in absolute quietness, gently
tap the floor. This will generally attract
the attention of the child without alarm-
ing it or causing movement, and the
opportunity for exposure is gained. With
older children whose attention wanders
from one thing to another without rest-
ing on any one thing long enough for our
purpose, the undemonstrative recital of a
childish tale will often secure the degree
of repose necessary. The vivacious child,
of course, can be managed by being "let
into the game" and impressed with the
feeling that the success of the affair
rests upon him. Or we may busy our
subjects with some simple occupation,
picture-book, or toy, and at the desired
moment get their attention for the
exposure. Mr. Nast, after long experi-
ence with children under the skylight,

advises the use of the singing voice as an
excellent way of gaining the interest of
dull or indifferent children. By this he
means the photographer to sing the
necessary directions instead of speaking
them. This may arouse apprehensions
as to the photographer's sanity in the
minds of older people present, but we are
told that the children enjoy the method;
and the sparkle and brightness of anima-
tion are what we seek. Sometimes
young children will persist in making
"funny mouths," especially when the
little teeth are coming. This can be
overcome in part by touching the tongue
with a small pinch of salt, which causes
the child to close its mouth for a moment,
during which the exposureshouldbemade.

There is a common desire among
mothers for a picture of baby smiling.
Don't indulge it without an attempt at a
second picture without the smile. A
smile is pleasing at a first glance, but one
wearies of it in a picture, where it cannot
change. Babies have as many moods as
older folk and are interesting in every
mood, but the smiling baby does not
wear well. Get the child interested,
listening, looking for something or busy
with its toes, and you will be just as
gratefully remembered as if you had
caught the smile.

As far as posing is concerned, the less
said the better. Children from one to
eight years are graceful in every move,
that is, in free and spontaneous move-
ment. From eight to fourteen years
there is a little awkwardness, and simple
poses will be most successful. With girls
the three-quarter or full-length figure
may be attempted; with boys the full
figure should generally be avoided. But
there are exceptions always. For my
part I prefer the method of letting the
children loose in the studio, keeping
them interested, and using a plate at
every opportunity. This "wastes"
plates, but insures variety of pose and
expression, absolute spontaneity, and
now and again a picture which could not
be obtained by a hundred deliberate
poses. Some have a movable platform —
which moves easily and noiselessly — and
many most delightful pictures of children
have been secured by its aid between
"rides" and "talks." This method, of

PROFESSIONAL PORTRAITS OF CHILDREN

iy THE BACHRACH STUDIO. BALTIMORE, MD.

course, is in keeping with "home"
methods.

Where two or three children of the
same family are to be photographed
together, many pleasing combinations
may be had by interlocking the figures
in such a way as to secure unity and yet
keeping a desirable degree of separation
in the figures. I have seen a clever
example of this, offering a suggestion not
yet made common. A group of four
children — three girls and a boy — was
arranged so as to display an oblique line
of heads in profile, with the figures inter-
twined here and there by linking the
arms of two of the children. The bal-
ance of the upper portion of the com-
position was secured by lettering the
children's names in the upper left hand
of the background, while the lower

portion of the picture was held together
by the lines and masses of the drape-
ries.

In dealing with babies (clothed) care is
needed to see that the child is not lost in
a mass of white linen. It is usually a
difficult thing to get a picture of a young
baby showing the whole of the face and
hands or feet because of the super-
abundance of clothing and ribbons, but
it can be done by patiently watching for
the right moment. With babies minus
any clothing we must strive for a pleas-
ing outline, avoiding unsightly creases
over the abdomen, etc. The full figure
of a child without clothing is a favorite
style with some mothers, but is seldom
beautiful. The half-figure is generally
preferable, but this is governed by
circumstance.

INTENSIFYING WITH URANIUM

By NORMAN BUTLER

THERE are only two safe ways that
I know of to intensify a negative.
One is, don't do it. The other is,
use uranium. For some reason, no
doubt a very good one, uranium intensi-
fication is taboo, generally. Just the
same, I have found it the quickest,
easiest and surest method, all things
considered, that there is of giving any
desired amount of extra "punch" to a
weak negative. It has one decided dis-
advantage, but it has also two or three
advantages that far outweigh the one
fault. This fault is that negatives
treated with uranium do not keep well.
In time, sometimes wTithin a few weeks,
an irridescent stain forms around the
edges and gradually extends inward
toward the center, finally covering the
whole plate. This stain is fatal to even
printing, and I have never discovered
any cure for it, although there are ways
out of this difficulty which I will mention
later on. But to offset this fault there
is the very great virtue that if for any
reason the intensification obtained is
unsatisfactory — that is, too weak or too
strong or uneven — it may in a few
seconds be dissolved entirely off and the
negative restored to its former state,
ready to be re-intensified if desired. It
is thus guaranteed absolutely fool-proof
so far as permanent damage to a valu-
able negative is concerned, and the
merest tyro may contemplate intensi-
fication without violent palpitation of
the heart.

It belongs to that class of intensifiers
whose function consists in changing the
color of the image from black to yellow
or brown, improving the printing quality,
just as pyro stain frequently does. In
fact, a negative slightly intensified with
uranium looks like a pyro-developed
negative where the minimum of sulphite
was used. Further intensification simply
means deepening the stain, and this may
be carried so far (and in only a few
seconds, too) that it would take hours
to printj and^the contrasts would be
tremendous.
(98)

It is my experience that it does not
make much difference what kind of a
negative it is that requires treatment —
what the cause of the weakness was, that
is. It may be an undertimed-under-
developed or an overtimed-underde-
veloped negative. An undertimed-over-
developed negative is hopeless, of course,
so far as any intensification that increases
contrast is concerned. A negative that
has been fully exposed but underde-
veloped simply needs "brightening up,,r
and for this purpose uranium cannot be
beat. A negative that has been both
underexposed and underdeveloped needs
shadow detail brought up to printing
quality. And with uranium I have seen
shadow detail brought to light that was
simply not visible before intensification I

The intensification is nice and clean;
it is clear, and not muddy like that of
some of the prepared one-solution inten-
sifiers. It is entirely free from grainy
appearance and so is fine for negatives
that must be enlarged.

As to formula, the one I use is as
follows :

Pure water 16 oz.

Uranium nitrate 35 gr.

Potassium ferricyanide ..... 35 gr.

Acatic acid No. 8 1 dr.

This contains twice as much water as
the formula I got from the books — or a
book — some time, somewhere. My ex-
perience is that the strength does not
matter much, except that the stronger
solution works very rapidly — too rapidly
for comfort. In fact, with the much
weaker solution I usually get all the
"pluck" I want in a negative in twenty
to thirty seconds, certainly in less than
a minute. I suppose the function of the
acid is to neutralize any possible alka-
linity in the wrater. As it is possible
with an alkaline solution (say a little
sodium carbonate in water) to dissolve
all intensification off, no matter how in-
tense, it is obvious that any alkalinity
present in the intensifying solution would
be fatal to good results. So I believe

INTENSIFYING WITH URANIUM

the acid is used to insure the absence of
alkali. (I suppose some chemistry shark
will laugh at my chemistry here, and I
confess I am only trying to make a little
common sense make up for a lack of
knowledge of experimental chemistry,
but at any rate I have done such a thing
as to intensify without the acid, "taking
a chance," and the acidless formula func-
tioned all right.)

For the same reason a negative must
have been thoroughly washed — free from
hypo. Otherwise unintensified areas will
result. The uranium will not "take"
where hypo is present. If you have any
suspicions on the subject you may soak
the negative a minute or two in a weak
acid bath. (I use the acid shortstop bath
that I use for paper, which is always
ready.) The negative may be put into
the intensifier dry, but it is better to
soak it in w^ater first, say half an hour.

The solution must be made fresh at the
time of use. It does not keep long; in
fact, not much longer than it takes to
perform the operation.

Lay the negative in a tray (preferably
a white one, so that the amount of inten-
sification can be easily observed), and
pour the solution on with a movement
like that in pouring on developer, being
sure, that is, that the solution covers the
whole plate evenly and quickly, as inten-
sification commences instantly and ad-
vances rapidly. Very little goes a good
way, you will find, and increases a little,
apparently, during the washing after-
wards. The danger is to over-intensify.
Nine times out of ten when the negative
is dry you will find that you have more
intensification than you thought you
had. Oftentimes merely to change the
color of the image slightly is enough — it
is surprising how little is needed to make
a lot of difference. After intensifying
swab the negative off well, front and
back, with cotton, and wash fifteen
minutes or so.

But — and here is the chief value of the
process — if for any reason you are not
satisfied with what you have got, put the
negative into a weak alkaline solution
(I use about half a teaspoonful of sodium
carbonate in eight ounces of water), and
in a few seconds the negative is right
back where vou started — no better nor

worse off than before. If your intention
is to re-intensify, wash and acidify the
negative again, of course, and proceed as
before. Or, in case of under-intensifica-
tion the first time, soak up and add a
second dose right on top of the first.

Another use of uranium intensification
which has no doubt been advocated
before, although I do not recall ever
having seen it mentioned, and one which
makes it extremely valuable at times, is
that local intensification may be easily
and surely carried out. To perform the
operation you take advantage of the dis-
solving-off property. It is possible by
intensifying the whole of a negative and
then dissolving off part of the intensifica-
tion with a solution of sodium carbonate
to even up intensities. It is best to do
the local reduction while the negative is
wet, but I have successfully worked it on
a dry negative with a wad of cotton not
too wet.

To give an illustration, I have in mind
a negative I made not long ago of a child
in a white dress. The quickest possible
bulb exposure was made, and the subject
was practically facing the light, but back
a considerable distance from the window.
It was a head and shoulders picture.
The plate was developed to the limit —
result, an exceedingly thin image of a
face, but a white dress that you couldn't
print through in a week of Sundays.
Well, I intensified the whole negative
with uranium and then dissolved off all
the intensification from the dress portion.
The print I finally got from the negative
showed no signs of negative-tampering.

Perhaps the leading objection to
uranium intensification is the fact al-
ready mentioned that negatives so
treated do not keep well. But there are
two roads around this obstacle. One is,
to dissolve the intensification off after the
prints are made, carefully washing the
negative afterwards, of course; then if in
the course of time more prints are wanted
re-intensify as before. The other way is
to make a duplicate negative from the
intensified one, by way of the trans-
parency route, or make a glossy print
from which a new negative can be made
at any time it is wanted.

One experience alone was enough to
convince me of the value of the method,

100

M. LOUISE GREENE, PHOTOGRAPHER OF CHILDREN

and I state it merely to show another
application. It is one of the things that
happen occasionally to the professional
photographer particularly. I had made
a negative of a child under bad lighting
conditions, so that the thing was very
weak on account of under-exposure. But
I sent a proof of it along with others of
the same sitting, thinking that if it
should be selected it would be an easy
matter to intensify. Of course, the mother
did select it, among others. That's
a way they have ! The proofs were gas-
light prints and this particular one was
weak and gray in the background, which
was simply blank space without detail of
any sort. I carried out my original in-
tention of intensifying for the finished

prints. The result was a startling im-
provement— to me. The mother of the
child was disappointed. She said she
liked the proof better. She preferred
the light, gray effect. So she returned
those prints and asked me if I would
make them over again as much like the
proof as possible. And here the negative
was intensified! But I had sufficient
reasons for wishing to please the lady if
possible, my art-conscience was not in
too good working order, and I felt in an
obliging mood. So I simply removed
the intensification I had been at such
pains to put on and made finished prints
from the negative in exactly its original
state. Easy enough ! — and another added
to my long list of pleased patrons!

M. LOUISE GREENE, PHOTOGRAPHER OF

CHILDREN

By BERTHA L. COLLINS

IN painting and sculpture women
have always reached the height
where very few men ever tread.
I believe the same can be done with the
lens." It was this remark that led me to
look into the studio of M. Louise Greene,
at Morristown, N. J. Mrs. Greene is a
self-made photographer and loves her
work because she cannot help it. Start-
ing several years ago to do amateur work
for her friends, she today has the reputa-
tion of producing some of the finest
pictures of children that have come be-
fore the public. It is the psychological
moment before pressing the bulb that is
of great importance, according to her
idea, and in her pictures she keeps the
natural grace of paintings in the pose,
together with richness in tone which has
distinguished her work and placed her
in the upper circles of the profession.
Cult urc and technical knowledge in one
who i> faithful to the art produces inevi-
table results. As photography is truly a
woman's work, it brings out in her
natural refinement, social tact and origi-
nality, and thus draws from the art much

more than can be fully realized when
there is an exchange of thought among
coworkers.

Mrs. Greene has taken several prizes
in professional exhibitions, and has
spent a few years studying under the
guidance of the late George Rockwood,
the pioneer photographer of New York.
She has a modest little studio laid out on
a home plan on one of the principal
streets of Morristown. The scheme of
coloring is green throughout, which is
suggestive of the worker's name, while
ferns and flowers heighten the artistic
arrangement of the place, and the num-
erous photographs displayed add a
brightness to the room that can only
come from the smiling faces of happy
children. When one enters and is
greeted by the cheerful smile of the
artist herself, a feeling of cordiality
comes to the surface and you are friends
at once.

Mrs. Greene's special work is child-
ren's photographs, and she has an un-
usual personal magnetism that attracts
every child she meets. All the children

M. LOUISE GREENE, PHOTOGRAPHER OF CHILDREN

101

have a "good time" when they come to
"Auntie" Greene's studio. She treats
children naturally and permits them to
reveal their true natures as she photo-
graphs them. One of the rooms in the
studio resembles a nursery, with its
quantity of toys and dolls, kept there
expressly for the little ones.

By M. L. GREENE, morristown, N. J.

As you are ushered into the reception
room, perhaps a friendly kitten will purr
against you, or you may arrive in time to
attend one of the tea parties that are
sometimes given right under the sky-
light. Frequently the kittens are in-
vited to the tea and dressed up for the
occasion, for they are well-trained pussies
and seem to understand that they are
part of the equipment. These kittens
have a glowing reputation among the
children and many of the artist's pictures
show happy children hugging kittens or
sometimes pulling their tails.

The first thing that impresses you as
you meet this photographer is her warm
personality. Her southern temperament
bubbles out in good fellowship and hos-

pitable cheer. You are at ease at once
in her presence and she keeps you this
way until you clasp her hand at the door
in parting. She has special interest in
the younger set and almost daily is giv-
ing advice and training the eye or the
hand of the school girl or boy to interpret
the art of photography. They all go to
the Greene studio when "something"
goes wrong with the camera. She has a
deep interest in the art work in her com-
munity and is a member of one or two
clubs that further it. She commands a
host of friends and they are truly proud
of her in her profession, for she has
achieved much success without the easier
surroundings and wide opportunities
afforded other women who are doing the
same line of work. She is self-made in

BY M L. GREENE, MORRISTOWN. N. J.

her profession and her work is conceded
to be by many well-known photographic
critics marked because of its originality
of pose, animation in facial expression
and quality in tones.

This artist has no rule for taking pic-
tures. Every subject is a different study
to her and she fashions her work to meet

102

M. LOUISE GREENE, PHOTOGRAPHER OF CHILDREN

!Y M. L. GREENE, MORRISTOWN. N. J.

the natural bearings, individual char-
acteristics and personal temperament of
the subject. Often she breaks the rules
of the profession which alone affords the
art in her unhampered development and
the result is a new creation.

Mrs. Greene believes that in photog-
raphy, as in art, there is no limit to the
work which may come out of it, and
says "that in striving to reproduce the
real likeness of the person, the thought
is to catch the face at the moment when
the soul reveals the true beauty of the
character and the spirit which pervades
and lights the whole being." In photog-
raphy as in every other profession the
women have had the hardest conditions
to struggle against and the least encour-
agement from the profession generally.
They have won out through their ener-
getic efforts and artistic ideas. The
technic is one thing to master, but true
love of the beauty in art and the ability
to express it through that technic which
is the keynote of woman's success in this
field. The finer nature, the love of the
spiritual and keen insight have brought
women their reward, for they perceive and
understand and sympathize and love.
These virtues are characteristic only of
the true woman and they can and will
win laurels for her when other things fail.
Applied to photography these qualities
bring out the hidden beauties in each

subject, and working in their own way
women have revealed many wonderful
things in the work that has created a new
era in this art. We see pictures today
that seemed impossible with the camera
a few years ago. Mechanical devices
and scientific discoveries have helped to
bring this about, but back of it all are
the earnest efforts and the persistency
of the true lovers in the profession who
consider the artistic side of their work
and confine their first thought to it.
Woman's influence has raised the art to
a higher and finer degree, which is felt
not entirely among the workers in the
field, but throughout the minds of many
others who are hungry and anxious for a
glimpse of the deeper things of life that
have come to us through the finer arts.
The brightness and joy of an appointed
work is one of the greatest gifts life has
to offer, and photography is so linked
with other interests and so closely woven
with our everyday surroundings, that
each one of us is privileged to come in
contact with it from time to time and
take advantage of its many opportuni-
ties. Women photographers hold a
place of ever-growing importance in the
world today and it may be carried by
them beyond our greatest expectations,
for through growth we learn that " to
larger sight, the rim of shadow is the
line of light."

ON LIGHT EFFECTS

By SADIKICHI HARTMAXX

(SIDNEY ALLAN)

IN photographic portraiture the simple
light effects are the best. It is a
different matter if you are engaged at
a figure composition, then you may in-
dulge freely in all kinds of light experi-
ments.

But in a photographic portrait the
light effect should be soft and pleasing
and in no way obtrusiYe. I suppose
every photographer has his own system
of lighting and his own ideas about the
exact angle of the skylight, about the
relative positions of the sitter and the

raphers know these things much better
than I. All I wish to show is the guid-
ing principle that somehow should con-
trol all efforts and results.

It is my contention that the most
natural light effect would be also the
most effective one for portraiture. An
English photographer (I have forgotten
his name) is responsible for the accom-
panying diagrams; he claims that they
present the simplest arrangement of
pictures with the most natural result. I
cut them out of some foreign magazine

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camera, and the management of screens
and other studio fixtures. And the more
practical and precise his system has
become in the run of years, the simpler
it will be. For a system of lighting is
nothing but the simplification of light
conditions for practical purposes. I,
therefore, do not intend to talk about
frontal, side, and marginal lighting, nor
about Rembrandt, shadow, and line
lighting, or any other method of lighting,
being of the opinion that the photog-

1 From "Composition in Portraiture."

eight or ten years ago. Study them, and
you will see that they still tell their lesson
today.

If it be possible to come down to one
kind of light and to pronounce it as the
most serviceable and natural one, it is
that of the diagrams. It shows the face
as the majority of Old Masters have
shown it, with the strongest high-lights
on the forehead and nose, and a few less
vigorous on the cheek bones, upper eye-
lids, around the mouth and chin. The
light effect of Van Dyck's "Rubens"
(Fig. 1) is tvpical for old-time por-

(103)

104

ON LIGHT EFFECTS

9. By duhrkoop

10. BY R. CRAIGIE

traiture, and cannot be surpassed for
clearness, for forceful simplicity, and
effective modelling. Its laws have been
closely followed by all good portrait
painters. The face should present the
largest lighted plane in a portrait. Only
then preciseness of features and plastic
results, after all the most desirable quali-
ties in a likeness, will become possible.

The modern tonalist has overstepped
this convention. Weary of the ever-
lasting repetition, he has introduced all

II. BY FRANZ GRAINER
12. BY ERWIN RAUPP

sorts of innovations. He is fond of work-
ing in middle tints without strong con-
trasts. Look, for instance, at Craigie's
portrait of an old lady (Fig. 10). Do
you really consider that method of flat-
tening and subtle gradations superior to
that applied in Fig. 12? Of course it is
largely a matter of taste. I am con-
vinced, however, that a likeness is easier
to obtain in the straightforward lighting
of Fig. 12 than the blurred effect of Fig.
10 or 4.

ON LIGHT EFFECTS

105

1. By VAN DYCK
2. BY H. KUHN

3. BY RAEBURN

4. By W. LOCKWOOD

Figs. 2 and 3 are treated in the Van
Dyck manner. They show the difference
between a photographic and a painted
portrait. It seems to be impossible in a
photograph to get the shadow as precise
and at the same time as translucent as
in the Raeburn portrait. The photog-
rapher is obliged to work in broken tints
and subtler monochrome gradations.

There has been a tendency among
modern painters to reduce the propor-
tion of lighted planes to their minimum.
The ratio of space devoted to lighted
planes has steadily grown smaller. The
Italian masters give to the lighted
sections about \ of their canvases,
Rembrandt reduced it to f , the English

portraitists allowed still less, and Whistler
in some of his portraits, for instance, his
"Sarassate," used only yq of the canvases
for his light arrangements. "The Vio-
linist," by Wilton Lockwood (Fig. 4), is a
good example of this style. This elimi-
nation of light is sure to produce a tonal
effect. The darker masses concentrate
the eyes upon the lighter part of the pic-
ture, and the more delicately the light
arrangement will lead the eyes from one
point of interest to the other one the
more harmonious and beautiful will be
the pictorial effect. But this style does
not permit strong contrasts ; the face can-
not be portrayed with normal clearness.
You will notice that the collar and the

106

ON LIGHT EFFECTS

IY C. RUF

IY B. WIEHR

7. BY C RUF

8. BY DUHRKOOP

rim of the violin carry the strongest
high-lights. The face is really entitled
to them. The larger the range of light
and shade is, the more accurate in ex-
pression, in construction, and modelling
the face will become. The strongest
high-lights on accessories always sacrifice
something of the likeness to a pictorial
effect.

The photographers to a large extent
have followed in the footsteps of the
painters. The Secessionists and extrem-
ists in this respect are strictly imitative.

The source of light applied in photo-
graphic portraiture has become smaller
and smaller in recent years. And the
result is the same as in painting. Por-
trait photography has become more
pictorial, but less clear and precise in
expression.

In Figs. 5, 6, 7, and 8 we will notice
a number of curious, out-of-the-ordinary
light effects. They are interesting and
show clever manipulation, but they will
never do for portraiture. To concentrate
the light merely on the forehead (Fig. 5),

GETTING YOUR STUDIO INTO THE MOVIES

107

on the upper part of the face (Fig. 7), on
one cheek (Fig. 6), or on a part of the
face (Fig. 8) is in no way conducive to
the producing of a likeness. People will
wonder why the light strikes the face in
such a peculiar fashion. They will find
it odd and eccentric, but I fail to see that
anything is gained thereby either for the
photographer or sitter. The source of
light should explain itself, or rather strike
the face so naturally that no explanation
is necessary. If in Fig. 8 the peculiar
light effect were produced by a broad-
brimmed hat, there would be no objec-
tion, but as it is the effect is meaningless.
Nor is it particularly beautiful, which
would be an excuse.

Fig. 9 is an excellent tonal composi-
tion. The face is kept entirely in middle
tints. But everything essential has been
preserved. There is characteristic ex-
pression, good modelling, and even pre-
ciseness in the shadows without the usual
opaqueness.

Fig. 12 is a good example of a portrait
in a lighter key. A stronger accentuation
of high-lights would not have harmed the
picture, but even as it is it is clear and
light and expressive, as a portrait should
be. The keynote of color in the human

face is light, and it should be rendered in
that way. The majority of portraits
today look as if the people depicted were
mulattoes or quadroons, which is not par-
ticularly flattering to the sitters. Fig. 9
also shows the value of lighted planes
for the expression of color.

The feeling of color in monochromes
is expressed by contrast, and contrast is
possible only by the juxtaposition of a
variety of tints ranging from white to
black, as seen in Figs. 1, 2, 3, 11, and 12.

My series of discussions on "Compo-
sition in Portraiture" have come to an
end with this chapter. My readers, at
least those who have remained loyal to
me, have no doubt realized the object of
these articles. I have tried to convey
those principles that everybody engaged
in the profession should know. With a
little leisure to investigate and analyze,
everybody will arrive at the same con-
clusions. They will furnish a reliable
basis to work up. The remainder neces-
sarily must be left to years of experience
and experiment. Only in that fashion
my readers will arrive at a mastery of
composition, not merely of its funda-
mental principles, but all its intricate
subtleties and marvellous possibilities.

GETTING YOUR STUDIO INTO THE MOVIES

By ERNEST A. DENCH

The Stock Ad Film

THE stock advertising film is popu-
lar because it is cheap. It does
not look cheap, however, which is
equally as important. You want a
moving-picture film the length of which
allows it to occupy the screen for the
same duration as the slide, but no longer.
From forty to sixty feet is just about
right.

The moving-picture concerns that
specialize in this decidedly effective form
of advertising have not confined them-
selves to one particular kind of produc-
tion. Taking their cue from the regular
photo-play producers, they have aimed

at variety and novelty. The average
stock film costs between four and five
dollars.

One which I viewed the other day
showed an ocean liner being torpedoed
by a submarine, the explosion scattering
the letters in all directions. They
arrange themselves into the advertise-
ment for the photographer, after which
the steamer disappears beneath the
surface.

The stock film certainly costs more
than the stock slide, but audiences evince
greater interest in the former, because it
offers genuine entertainment without the
advertising element forcing itself to the
front.

108

GETTING YOUR STUDIO INTO THE MOVIES

Your Own "News" Film

The live photo-play exhibitor is deeply
conscious of the fact that the national
animated newspaper has its shortcom-
ings, especially if he be located in a small
town. Folks in Clayville are not so
interested in Van Troppen laying a
foundation stone in New York City as
they are in John Brown opening the
Clayville library. Maybe they saw the
latter event performed, but that does
not decrease their interest; rather, it
increases it, since the motion-picture
camera presents the event from a new
viewpoint. Another thing, they are
among the crowd, and who does not like
seeing himself on the magic white
screen?

Let us suppose, for instance, you are
photographing an important local wed-
ding. Here you have an event with a
legitimate news interest. In putting
over the press agency stunt, you would
have the exhibitor send a motion-picture
operator to cover the assignment and
get your photographer recorded at work,
but that would not benefit you mate-
rially. The theater man, as likely as
not, would leave your studio out of his
calculation, and for you to profit thereby
it would be necessary to have a few feet
of film showing your man leaving the
studio with the necessary apparatus. So,
to put this stunt over, you must defray
the cost of same. Some exhibitors have
their own movie cameras; others hire a
local cinematographer, but the arrange-
ments in either case practically amount
to the same. Of course, if motion-
picture work is a sideline with you, the
problem automatically solves itself.

If Mrs. Brown, the well-known local
clubwoman, sent you a testimonial in
regard to the photograph you took of her
baby, the first thing that would occur to
you would be to have the letter flashed
upon the screen. That's far too crude.
But you can film an interview with your
worthy client and introduce some inti-
mate scenes, not to forget the visualized
testimonial. This would produce an
exquisite blend of entertainment and
advertising.

The motion-picture photographer usu-

ally charges fifty cents a foot for produc-
ing films along the foregoing lines. A
motion-picture film has to survive so
much wear and tear at the hands of
different theater operators that, in order
to preserve its perfect appearance as long
as possible, it should be printed upon a
reliable stock. Most of the regular pro-
ducers use Eastman, so it is best to
specify this particular kind.

By offering the exhibitor a news-event
film he will gladly snap up same as a
special attraction. And such publicity
as you will receive will not be forgotten
in a day.

Giving Away Strips of Film

Photo-play fans have the souvenir
habit badly. I have known them to
write the manufacturers direct for strips
of film they have seen. If the producers
encouraged this practice, their profits
would soon be eaten up.

The exhibitor only hires the film from
the exchange and is therefore not free to
do as he pleases with it. It is seldom,
however, he receives a reel in perfect con-
dition, the most common defect being
cut or torn sprocket-holes. If he re-
moves two or three imperfect "frames,"
of which there are sixteen to every foot of
film, it does not mutilate the production.
But there will not be sufficient cuts to
justify a general distribution, so the next
best thing to do is to have the portion
turned over to you. Use it as a negative
and print the desired number of copies on
regular velox postcards or double-print
paper, the latter being the cheapest and
most effective. Next cut them up to
resemble genuine strips of film. This
stunt will be doubly effective if the clip-
pings are chosen with discrimination. A
piece of film, for instance, showing either
Mary Pickford or Charlie Chaplin in a
typical scene is a thousand times more
effective than one of Miss Nameless.

It might be carried even farther.
Studio scenes are quite common in the
movies, and if, say, your clipping showed
Lillian Walker having her photograph
taken, you could enclose same in an
envelope and have the following inscrip-
tion printed outside:

GETTING YOUR STUDIO INTO THE MOVIES

109

"The enclosed piece of film is a por-
tion of one screened at the Idle-Hour
Theatre. It shows Lillian Walker having
her picture taken. If Miss Walker had
her home in this town, we are sure she
would favor our studio with a visit."

The first thing is to persuade the ex-
hibitor to part with these choice morsels
of film, but when you promise him the
advertising on the envelopes he should
be satisfied.

The stunt should also be extended to
the advertising films you put out from
time to time.

Arousing Local Interest with a
Photo-play

Today, ninety-nine out of every hun-
dred movie fans either desire to write a
photo-play or else wish to become a
photo-play star. Most of the photo-
play studios employ staff writers, and
now that adaptations from popular stage
plays and novels are all the rage, the
chances of a check going to an outside
writer are pretty slim. In the acting end
the one obstacle is the geographical situ-
ation, for the two producing centers are
Southern California and New York.
There are also so many actors with stage
experience seeking engagements that the
novice's only chance is as an extra, but
that position is a too precarious means of
livelihood to be recommended.

Why not have a photo-play produced
containing a story that calls for the
logical introduction of your studio?

The first thing necessary is the cooper-
ation of the local exhibitor, whom you
should approach with a mutual proposi-
tion; offer, say, twenty-five dollars for
the best photo-play, comedy or dramatic,
written by a local resident; for judges
appoint the director, exhibitor, and
newspaper editor; have the contest open
at least a month in order to allow suf-
ficient time to circularize the neighbor-
hood; advertise outside your studio;
mention the contest in your newspaper

advertising; secure liberal writeups in
the local newspaper; see also that the
exhibitor announces the conditions gov-
erning the contest at every performance.

After the scenario has been selected,
strike your second bombshell — a voting
contest for the selection of the most
beautiful young woman and young man,
respectively. Have each nomination ac-
companied by a photograph, which must
be the work of your studio, together with
a letter describing the competitors. Allow
the judges to weed out the hopeless
competitors, the pictures of the good-
looking ones being published in the
newspapers, besides arranging for same
to be thrown upon the screen. Interest
may be maintained by daily announcing
the standing of the candidates. Have
spectators vote for their favorites, who,
if successful, will appear in the prize-
winning story. Each vote should be
made upon a coupon, presented with
every purchase at your studio. Apart
from getting your studio on the lips of
everybody, each candidate will enlist the
aid of friends to secure votes, thereby
inducing many folks to patronize your
studio for the first time.

Now comes the exhibitor's turn to reap
the benefit. Your photo-play is ready
for public exhibition. The town can
hardly control its suspense. Then the
exhibitor announces that the long-
awaited local production will be shown
for one week. He does capacity busi-
ness, and your studio is again in the
limelight. And the best part about it is
that you do not pay the exhibitor for
screening same as you would an ordinary
advertising movie.

The cost of producing a photo-play
varies from $1 to $3 a foot, which works
out from $500 to $1500 for a half-reel
subject. Steer clear of interior scenes,
as they are expensive. A photo-play
may seem costly, but it is not, for it is
always available and possesses excep-
tional business-pulling properties.

Always rinse the plate between de-
velopment and fixing.

All sulphites owe their preserving
properties to the sulphurous acid they
contain.

Oxidized developer acts strongly as
a retarder of development.

The "personal equation" is an im-
portant factor in successful negative
development.

9. HEAD OF GIRL
lO. ROGUERY

11. THE WINDER
12- GIRL WITH CLASPED HANDS

MASTERS IN PORTRAITURE

GREUZE

JEAN BAPTISTE

JEAN BAPTISTE GREUZE achieved
an immense reputation as a painter
of scenes of domestic life. He
worked about the same time as Gains-
borough, i. e., during the years 1745 to
1775, and, strange to say, had many of
the same characteristics of his great
English contemporary. It almost seems
as if taste was never local, but always
spread over all civilized lands that were
in close, even if in slow, interchange.

Gainsborough, true enough, was infin-
itely superior in dignity of composition;
but Greuze had the same suavity of line,
the same fondness for flowing curves,
picturesque garments, and lavish acces-
sories. He lived much longer than the
Englishman, he even survived the French
Revolution, but again he could not resist
the trend of his time. He forgot the
style of his manhood and tried to become
in his old age an historical painter like
David. He did not succeed, and died in
poverty, and only the work of his earlier
periods is known to the present genera-
tion. Of these, his study heads enjoy
the greatest reputation. They are a
trifle sentimental in tendency — he tries
to play too much on our emotion — but
they, after all, are exquisite composi-
tions, no matter whether we fancy that
class of pictures or not.

He always tries to say a little too
much, as in Figs. 2, 8, 10, and 12. But
then again we owe him quite a number
of charming, straightforward interpre-
tations, as Figs. 3 and 9. The most
realistic painter would be proud of paint-
ing such a head of a girl as Fig. 9. It is
merely the facial expression which make
it unusual, and in this peculiarity Greuze
was a master. He knew that people
liked pleasant, handsome faces, and so he
made them — by no means such an easy
task as some people think. Of course, it
can be overdone, as by our fashionable
illustrators. Also, he is not exempt of
this criticism: Comparatively few peo-
ple, educated up to modern art ideas,
could live with pictures like Figs. 2, 6, 8,
and 10.

But how about the "Portrait of Sophie

Arnould " (Fig. 1), and the "Portrait of a
Lady" (Fig. 4)? They surely are satis-
factory even from the modern view-point.

Fig. 1 is an excellent composition. It
is pleasing in line, full of contrast, and
picturesque throughout. The only fault
I have to find with it is that it does
not show enough of the figure. It looks
cramped, but this is explained by the
crouching attitude. If the lady were
not leaning forward one of the principal
charms of the picture would be absent.
The facial expression alone — exquisite
as it is — would not save it. It is the
way the lady sits, how she holds her
head and hand, which makes the picture
what it is. Besides, the dark shawl and
hat with the white feather furnish notes
of color and contrast that lend a pictur-
esque appearance to the entire composi-
tion. We can easily believe that this
lady was the famous actress, Sophie
Arnould, who played such an important
part, not only on the French stage but
also in history.

The least said about Fig. 2 the better,
although the drapery to the right is
well managed. Fig. 3 is a convincing
character delineation of a child, and
this is a rare accomplishment indeed.
She looks natural despite her pose as
a flower-girl. This is largely due to
the facial expression, and the simple
way in which she holds the bunch of
flowers.

Greuze knew the value of attitude.
He could do whatever he wished with
the human form. If his taste had been
less time-pleasing he would have left
innumerable masterpieces. As it is, he
left but a few. Two of these are Figs.
1 and 4.

The "Portrait of a Lady," Fig. 4, is
exceedingly simple. The long neck, the
arrangement of the hair, and the lines
of the shoulders are the principal
features of the composition. The face
is well drawn and modelled. Few por-
traitists today will succeed to make such
a fine portrait with such simple means.
The character of the accessories has
changed. That is all. Greuze needed

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112

MASTERS IN PORTRAITURE

1. MLLE. SOPHIE ARNOULD
2. GIRL WITH DOVES

3. HEAD OF GIRL

4. PORTRAIT OF LADY

pigeons, bird cages, baskets filled with
fruit, to convey his pictorial ideas;
the modern portraitist, chairs, picture
frames, and cushions. We prefer atti-
tudes that say nothing in particular,
while the French took special pleasure in
expressing reverie, melancholy, ecstasy,
etc.

"Madame de Porcin," Fig. 5, except-
ing the wreath around the dog's head, is
worthy of a Sargent. As an oval com-
position, it furnishes evermore a valu-
able object-lesson. The whole bust,
shoulders, and arms repeat the oval
shape. The head does likewise, and so
we arrive at the formula, two oval
shapes of different sizes surrounded by
a third larger oval always produce an

agreeable division of space and a pleas-
ant sensation to the eye. The dark
shape of the dog and the lady's coiffure
balance each other perfectly. We also
notice that this painter was fond of
using the shadow of figures in his back-
ground. We see it in Figs. 1 and 6,
besides Fig. 5.

Fig. 6 depicts a pretty face and shows
the good use of a scarf. Nevertheless,
the drapery effect is a trifle elaborate.
The " Portrait of Mme. de Boisset," Fig,
7, on the other hand, is strangely severe
for this painter of elegance and grace.
It exemplifies the application of sym-
metrical forms in an oval. It looks too
much like the ordinary miniature. I
think this style of composition would

MASTERS IN PORTRAITURE

113

5- MME. DE PORCIN
6. GIRL WITH SCARF

7. MME. DE BOISSET

8. GIRL WITH BASKET

be better avoided. The texture of the
lace collar and satin waist is beautiful,
but does not condone for the lack of
picturesqueness.

There is little worthy of recommen-
dation in the "Girl with Basket," Fig. 8,
and "Roguery," Fig. 10. A facial ex-
pression which delineates a distinct
phase of emotion or fancy of the mind,
like "roguery," no matter how slight
or fleeting, lies outside the domain of
portraiture. Of course, this is meant for
a study head, but even in study heads
vaguer expressions are more preferable.
Fig. 12 is more to the point. This girl
with clasped hands would even please
a Herzog. It is merely a picturesque
attitude with a luminous facial ex-
pression; just the theme for decorative
experiments.

"The Winder," Fig. 9, is an example
of Greuze's figure pieces, by which he
is best known. They show considerable
skill, but the time of elaborate detail
and pictorial storytelling has passed,
and I believe most of us (except in
Milwaukee and Cleveland) prefer a
simpler face. I am of the opinion that
the interest in Greuze's genre pictures
and sentimental fancy heads will stead-
ily diminish, while the beauty of his
simple portraits and portrait studies,
like those of Sophie Arnould and Figs.
4 and 9, will become more palpable
from day to day.

They can teach the modern portrait
painter the importance of a pleasant
facial expression and an elegant, as
well as characteristic, attitude.

114

METHODS

)Y S. H. LIFSHEY, BROOKLYN. N. Y,

METHODS

If a one-solution developer is being
made, the alkaline portion must be
added last of all.

In warm weather a developer con-
taining metol is liable to fog plates
unless kept below 65 ° F.

Hydroquinone alone gives " pretty"
negatives, rather than negatives of good
printing quality

To stop development without fixing,
place the plate direct into citric acid,
5 grains; water, 1 ounce.

The developing power of hydro-
quinone falls off more rapidly in cold
weather than any other developer.

In making up metol solutions, the
metol must first be dissolved in water
and the sulphite added afterward.

For stand development use glycin,
i ounce; sulphite of soda, 1 ounce; car-
bonate of potash, 1 ounce; water, 80
ounces.

Always rock the developing dish if
pyro is the developer.

PRACTICAL PAPERS ON STUDIO WORK AND METHODS

Good Business Methods

Photography suffers from its dual nature. It
is sometimes, in the minds of its practitioners,
an art, and the photographer is an artist. Was
not the low collar and the flowing black necktie
adopted as the hallmark of the photographic
artist?

Whether the photographer is an artist or not,
he must all the time be a business man. It does
not follow that a great artist is a great business
man. The reverse is more often the case. Sir
Henry Irving during the greater part of his career
had a worldwide popularity, which gave him
unusual opportunities to amass wealth, yet died
a comparatively poor man. His artistic successes
were sometimes commercial or business failures.

A photographer may make a name for himself
under the skylight and still be unable to properly
support his family.

In photography the business end must be de-
veloped with the artistic, and vice versa, and the
photographer must enlarge and improve his
business methods as he improves his work under
the light.

Too few photographers appreciate the import-
ance of the reception room and the receptionist.
The reception room is going to impress your
customer either favorably or unfavorably. Mark
the new year by looking over your reception room
and see if you cannot make it look brighter and
more attractive. Your receptionist is not such
an easy matter, but there are surely ways and
means of keying up the desire to make a better
business showing in 1917 than in 1916. This is
a good time to make any changes and to intro-
duce any new ideas.

Look over your sample books and portfolios
and have them renewed and put in order. See if
you cannot hang up a new and better set of speci-
mens on the walls. If the frames are in need of
renewing or renovating, it will be a good invest-
ment to renew or renovate.

Go through the workroom and the printing de-
partment and see whether you are keeping up
with the latest in apparatus and tools. Photog-

raphy as a science is so recent that what was up
to date yesterday is today obsolete. The manu-
facturers are always showing new apparatus that
are, many of them, time and money savers. That
there were no automatic printing machines when
you started in business is no argument against
you putting one in now. Don't be afraid of tak-
ing up a new idea. An inventor, seeking to
enrich himself, can only do so by inventing
something of real merit. The discoverer of Velox
enriched photography as well as his bank account.
While always striving to make better pictures,
don't for a moment relax on the selling end. It is
the vital part of your business.

The Showcase

The showcase represents the beginning and
the end of the photographer's efforts — the begin-
ning, because he depends upon it to interest the
people passing by his door, who have no other
motive to move them in his direction than the
effect it may have upon them, first, by attracting,
and then by holding their attention.

It represents the finality of his attainments,
because his finished work is necessary before a
showcase can be arranged at all, and because
the ideal showcase should contain only the best
and most perfect specimens of his art that he is
capable of producing, which should be culled
from the work of months. It may readily be
seen then, if this view of the subject is accepted,
how important a matter it is that the showcase
should be studied from every possible point of
view, and arranged with the most consummate
care and skill.

There are, it may be said, two widely different
classes of studios to be considered under this
heading, which are capable of treatment by
themselves, namely, the large city studio, where
the range of specimen pictures is wide, and
includes, among other advantages, a wealth
of rich costuming, beautiful accessories, and
charming models, and the less pretentious
country gallery, or the studios located in the
larger towns and smaller cities. It is not the

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116

THE STUDIO

purpose of this article to treat of the former class,
but to consider more especially the case of the
smaller studio, with a view to offering a few
suggestions that may be of benefit in making the
showcase do more than it does in attracting
business — new business, too, it should be in most
cases — to the reception room.

In the first place, the size and the style of the
showcase cannot be made to conform to any
hard-and-fast rule. Every one should be placed
in as prominent a position as possible, and as
near the height of the eye as may be. Its size
and shape must conform to its surroundings,
and the necessities that govern each individual
studio. It should be a matter of religious
observance, however, that the woodwork is kept
well painted, the glass immaculately clean, and
the shelves and contents perfectly free from dust.
All these things are easily possible of accomplish-
ment by anyone, and it is almost a foregone
conclusion that when any of these details are
omitted, and any symptom of slackness is allowed
to make itself seen in the showcase, it is a sure
indication that the general character of the work,
for which the showcase stands, is no better than
the symptoms would indicate. There is another
point connected with the location of the showcase
which the writer has not seen mentioned, but
which it seems should be of advantage, namely,
that in many places it will be easily possible to
have a supplementary showcase located in some
store or office frequented by the public, and
situated at some distance from the studio. In
this case, however, a sign more prominent than
that used on the imprint of the card mounts
alone should form an important part of the
exhibit. Having now seen to it that the case
itself is well painted and cleaned, the next
thought should be for its contents, and for this
the greatest care should be used in the selection
of its subjects, aiming rather at quality than
quantity, but covering as large a field as possible
from time to time. This may be done in either
of two ways, as, for instance, the display of a
certain week toward the end of a school or
college term might be kept almost wholly on the
line of graduating classes. This, in the case of
a man's college, would need something in the way
of special attractions to break up its monotony,
although in the case of a girl's school a very
attractive display could be made all along the
same line. Another week, at the beginning of
the holiday season or Easter time, might be
devoted to pictures of the children — the brightest
and cutest collection of the whole year — and
other special occasions treated in the same way.
Or the case may be supplied during the major
portion of the year with a collection covering
a wider range of subjects, as, for instance, one
or two children's pictures, a few of the brightest
and most charming young ladies' pictures, the
matron and the elderly person, all of which
should be chosen with reference to their standing
and position in the community in any cases
where these qualifications may be added to
thoroughly good technical workmanship.
Another plan that works admirably upon
occasions is to make several prints from the
same negative, using two or three different
methods of printing or kinds of paper, in accord-

ance with the facilities of each individual studio,
toning them in different colors, trimming
differently, some with wide and some with
narrow margins aroung the figure, and mounting
them on cards of various shapes, kinds, sizes,
and colors. An exhibit of this nature will prob-
ably astonish the man who makes it as much as
it should interest those who see it.

The case should not by any means be over-
crowded, and where it is, as frequently happens,
a part of the entrance of the studio, occupying
the whole or part of the side wall, it should be
covered in by glass, and either be painted or
hung with cloth or burlap of a color to harmonize
with the surrounding decorations. The prints
to be displayed should be mounted upon wide-
margined cards and grouped somewhat irregu-
larly, leaving plenty of space between each and
its neighbor, so that no idea may be suggested
of their having been huddled together in a
hurry.

As a closing maxim, let the showcase tell
the story of thrift and good taste, then let the
work of the studio verify this story.

On Displays

The quality and the amount of your show or
exhibition work depends as much on your own in-
dividual taste, attainments, and power as upon
your environment and upon your clientele, by
which I mean, of course, your customers or pat-
rons. The refined or esthetic show work would
be as out of place in a border town as would the
painfully crude and literal display of the latter on
Fifth Avenue. The mere transposition I have
here suggested conveys an object lesson which
does not need many more words in exemplifica-
tion. To secure the appreciation of the refined,
the amount of your display cuts no figure. In-
deed, if overdone in this respect, it is apt to be a
handicap. A pearl or diamond will draw the eye
anywhere, but you will agree that neither will
shine particularly if thrown in among a lot of
imitations.

The crude show of your humble border-town
competitor shines by contrast with the tintype of
the travelling studio wagon, and is entitled to its
meed of praise on account of its isolated location
and its obvious limitations.

It is vastly different with those living in closer
touch with the advanced taste of the day. The
matter of a suitable display of work for exhibition
purposes requires no little consideration or taste,
and considerable expense if we desire to present
our very best. Very few studios are fortunate
enough to have a reserve fund of desirable work
from which to evolve a suitable and thoroughly
satisfactory exhibit. Pictures on hand are usu-
ally culls, which, though often used in desperation
for lack of better material, should not be used if by
so doing you prejudice the really good ones in the
balance of the exhibit.

Cabinets, half-cabinets, and cards, as well as
the lesser ovals, have been styled "chicken feed,"
and when they are alone the prevailing sizes in a
studio and they do not contribute materially to a
very profitable income, why not conceive or plan
your show work in a class or size that you are
desirous of putting out? In the first place, such

THE STUDIO

117

work would be vastly more creditable to the
studio, as well as much more remunerative;
hence it is imperative to have and push such a
class. "But," you may ask, "how am I to use
such work when 90 per cent, of my trade calls for
cabinet and under?" The matter is compara-
tively easy, and there are several ways to accom-
plish it. In an earlier paper I have briefly
sketched the means by which the cabinet photo
was introduced; the sizes and styles must first be
made and then shown, and if you have done your
part well, not much urging will be necessary to
make them go. If you do not care to wait until
you have a sitter with the desirable characteris-
tics, you may cast about you and go on a "still
hunt" for some such, and when found invite
them, making, of course, the proper suggestions
as to wearing apparel, etc. You can then go
ahead and do your prettiest, both as to pose and
lighting, always bearing in mind the effect you are
striving for in the general display. I much
prefer, however, to make the selections from
salient sitters among my regular patrons. I know
of many studios where it is the rule instead of the
exception to make the larger negatives as well as
the size requested ; it will always be found profit-
able to do this when likely sitters appear, for the
added expense is not much, and the result will,
nine times out of ten, justify the extra trouble.
It is the constant, ceaseless, ever-striving to
surpass your best work that will land you at the
goal of success, no matter what you undertake.
Our business or profession does not differ in that
from others, and the methods must often be
compared, weighed, and applied.

Now, a few words about the display in general :
"Concentration," says a humorist, "is better
than scatteration," and so will say all the thought-
ful ones. This holds true, whether we are dealing
with an outside doorway or gallery entrance show,
a show upon the studio walls or at a convention.
Not only do these remarks apply to the whole
exhibit, but to the individual parts as well.

Do not design a display that is "spotty,"
which you are liable to do by an unfortunate
arrangement of sizes, large and small, improperly
composed; or by injudiciously grouping pictures
that agree well in form but do not harmonize in
depth of tone. An agreeable effect should be
apparent to the eye of the beholder even when he
is so far distant from the grouped exhibit as not to
be able to distinguish the individual pictures;
this is a very severe test for composition, but
such composition is essential if it is desired to
make an effective arrangement, as well as one in
which the individual pictures may be closely
scrutinized for excellence. If the arrangement is
framed either as an upright or horizontal oblong,
the form can be carried out in the inner grouping,
as many smaller oblongs carefully arranged will
form a larger one, and while the effect is a little
severe, it is better to use that principle than to
break the arrangement abruptly by the unfortu-
nate introduction of a larger form of subject,
unless it be, perhaps, a proportionate oblong,
which, though larger, will permit its introduction,
and thus mosaic-in pleasantly. A few general
rules can be laid down. It is safe to "mass" the
different sizes each by themselves, be they large
or small; in this way, if you combine them

properly, they will form a harmonious part of the
whole. Most of these remarks are governed by
the law of harmony rather than by the law of
contrast; if you adopt the latter, execute your
grouping with knowledge and judgment, always
bearing in mind that the sizes must be then com-
bined according to the humorist's law of "scat-
teration." I am here confronted with the ex-
treme difficulty of illustrating pictorially the
ideas I have been trying to set before you; as a
matter of fact, to properly illustrate the subject,
exhibition groups would have to be made up and
reproduced in half-tone, but it is not possible
here where I write to find a selection of subjects
suitable and pertinent to the subject under con-
sideration. However, if you have saved the back
numbers of your photographic journals which
treat of conventions and the various exhibits, you
will surely see many which can be taken as model
exhibits, though none are to be copied literally.

This would not be possible; for, in imitating
closely another person's idea of grouping and
arrangement, you might not be able to complete
it by relevant photographic work; hence you
might carry out the letter and entirely miss the
spirit. I am inclined to think that all the masters
of today do not attach the importance it deserves
to a perfectly proper exhibit of their show work,
apparently leaving it more to chance and for-
tuitous accident than to careful consideration of
the exacting conditions.

The exhibit for the walls of the reception room
needs much care and thought in selection and
location. Here, if it is large, the amount of your
show is apt to be a handicap as well as at your
studio door, and perhaps more so. See that your
walls have proper tone or tint; gilt frames add a
richness that other kinds do not, and will fit and
embellish most any picture. For colored work, it
is almost imperative that gold be chosen. It is
hardly necessary for me to enumerate the tones
that are harmonious for frames as well as for pict-
ures contained therein. Do not overload your
photos with too massive frames, nor have the
frames too near alike in size or style. Locate the
principal pictures of the intended group centrally,
and as a foil add only such frames as will not
detract from the main one either by reason of size
or form. Keep the group of frames well together
and leave plenty of wall space for breadth and
neutralizing effect. If there is one thing that can
be said, and that will apply to nearly all (I do not
say all), it is that too many pictures are hung or
displayed in studios generally. If there is some-
thing more that applies to a good many exhibits,
it is that the same pictures are permitted to hang
too long without changing. Do you wonder that
I started in by saying that a proper show is a
matter of expense? I should have said great
expense at that.

An Unfailing Source of Income

When business is quiet the photographer will
sit around and think up a hundred and one rea-
sons for the falling off in receipts. The weather
is either too hot or too cold or it rains or snows.
The crops have failed and there is no money for
luxuries, or they are too good and there is no

118

THE STUDIO

time for pictures. But of the many and varied
reasons for a slack season we never heard it put
forward that the children were not as numerous
as ever.

How few photographers realize the possibilities
of the never-failing supply of children of all ages
and sizes, from the chubby infant to the dainty
miss just coming out in long dresses. All of them
possibilities of beautiful pictures. Each and
every one of them the pride and glory of their
proud parents.

Every baby picture in your showcase is a
direct challenge to every mother of an unphoto-
graphed baby. Is not her pride and joy a better-
looking baby than any you have pictured in your
showcase? Surely! and you should not have
much trouble in persuading her to let you
demonstrate the fact.

Good pictures of babies are not easily made,
but they are worth all the trouble you can take to
get them. They are the best kind of advertising.
A baby picture will attract the woman every time,
and it's the woman who has the money to spend
on photographs. The man is usually too busy
getting the money to pay the butcher, the baker,
and the coal man, to think about the photog-
rapher.

There are the seven ages of children, just as of
man, and you ought to get them in all the differ-
ent stages of growing up. If properly trained,
many parents can be persuaded to have a picture
made on each succeeding birthday. The desir-
ability of this annual record has never been
sufficiently emphasized by the photographer.
Your desk "tickler" or reminder should auto-
matically advise you a few days ahead that one
year ago Baby Brown had his picture made.
Many parents would respond to a well-worded
invitation to come and have baby's growth in
size and increased beauty recorded.

Another advantage about photographing the
baby is that he never comes to the studio alone.
He is always fairly well attended by several
members of the family, offering further oppor-
tunities for more business.

The enlarged picture offers an opportunity that
is too often neglected. A particularly happy
baby pose or expression will often make a charm-
ing picture when enlarged. To refer to Fifth
Avenue, one of the most attractive pictures on
the avenue at present is a delightful picture of a
baby boy almost life size, sucking his thumb in a
most natural and winsome manner.

Cultivate the baby, there are plenty of them,
and the supply is unfailing.

The One-man Studio

Possibly there was a time in the past when
the one-man studio could be made successful.
We believe now that every studio, no matter
how small the city in which it is located, can
do more business and make more profit for the
proprietor if some assistance is secured.

It is different now from what it was a few
years ago. If you are located in a small city and
have done all your work alone in the past, you

need assistance of some kind now, for you are
sure to have developing and printing for the
amateurs and should sell films and kodaks to
your customers.

The proprietor of a studio, no matter how
small, cannot afford to spend his time developing
films or making amateur prints. It is better for
him to devote this time to advertising ideas,
changing his showcase, putting new samples in
his reception room, and other work which will
bring him greater returns.

Then again, the proprietor of any studio
should be free at all times to wait upon customers
when they come in. If he is doing amateur
printing and developing and they must wait, it
is his loss every time. A young man or a young
lady can be secured, usually at a moderate price,
for this class of work. They are also very useful
in the reception rooms on days when there is a
rush of trade.

The finest pictures and those who win "Salon"
honors and first prize, are not the result of one
man's work. They come from studios where the
negative is made by one person, retouched by
another, printed by another, and oftentimes
mounted and finished by a fourth person.

Then again, there is much home portrait
work at this season of the year and view and
exterior work during the summer season, and
no studio should be closed at any time. When
you must leave your studio for this class of work,
a young lady in the reception room can take care
of customers, entertain them if necessary until
you return, or make dates for a sitting.

The increased business which you will get will
more than pay the salary of the person hired.
Possibly some people get used to it, but ninety-
nine out of a hundred are annoyed when they
open the door of a studio and hear a bell ring
somewhere off in the distance and stand looking
awkwardly around for some one to appear. This
is a bad impression to start with and must be
overcome before a good order can be taken.

If you think you are making money by trying
to do all your work alone, you are mistaken —
you are losing money. You cannot afford to do
work which can be done by some one else just
as well as you can do it, and at a small salary. —
Ohio Photo News.

Push Enlargements

There's a lot of business to be done in enlarge-
ments. Are you getting hold of it? Every
amateur in your district has dozens of negatives
that will make excellent enlargements. You
should have specimens of your work on view.

When a customer brings spools to be developed
and printed, it is a good plan to pick out a few
of his best negatives and tell him that they are
just right for enlarging, and at the same time
show him a specimen enlarged from a negative
the same size as his own.

There's plenty of enlarging to be done, and it
only means stirring things up a bit to bring it
your way. And don't forget: enlarging carries a
good profit. — Kodak Trade Circular.

NOTES

AND

NEWS

Report of Executive Committee of the National

The meeting of the Committee was held at
the Hotal Wisconsin, Milwaukee, January 22,
23, 24, 25, 1917, all members of the board
being present. Plans were discussed not only
for the convention itself, but for the Association
work during the entire year.

September 3 to 8 were selected as the dates
for the coming convention. The auditorium,
which is one of the finest convention halls in
America, was selected for the meetings and
exhibits. A large arena with over 22,000 square
feet of space will be used for the exhibits of the
manufacturers and dealers. Several meeting-
rooms with capacity of 500 to 1200 people will
be used for demonstrations, meetings and the
picture exhibit. All space necessary for the
requirements of the convention will be found
on one floor of this great auditorium.

The Hotel Wisconsin, a new fire-proof and
modern hotel, was named as the headquarters.
It is located within five blocks of the auditorium.
It has 500 rooms and is so situated that those
who will not be able to secure accommodations
at the headquarters will find several good hotels
within easy reach.

A program is prepared with the idea of cover-
ing every phase of the photographer's work.
No one department will be featured at the
expense of other departments. There will be
practical demonstrations in negative making by
several of the leading pictorialists of America,
as well as by those who are making a success
of the photographic business through photo-
graphs that appeal to the average public.

Complete and continuous demonstrations will
be given in the use of air-brush, working in back-
grounds on negatives and prints. At the same
time demonstrations of etching and retouching
will be given.

Lectures on the business side of the studio will
be given — on advertising, salesmanship, service
and reaching the rural trade. In addition, the
active members of the Association will be given
an opportunity at one of the meetings of the
convention to express their views in regard to
the extension of the service of the Association
for the elevation of photography and for the
enlarging of the membership.

Market Prices

The market prices of photographic materials
are still fluctuating, and about the only differ-
ence between conditions that prevailed a year
ago and those prevailing at present are that
instead of advances all along the line, there are
some reductions recorded. Cardboards are
going up. Chemicals are going down. Manu-
factured articles of wood and metal are showing
irregular advances, while the staples in the busi-
ness as yet remain stationary. We might as
well give the bad news first and get it over with.
The card and paper market shows an advance of
25 to 30 per cent. The new prices go into effect
without notice. The possibility of such an
advance has been known for a year, but the
longer it was delayed the higher were our hopes
that the crisis might be passed without a radical
change in price becoming necessary. There had
been threats of advances, but as time passed and
they did not materialize, we had come to believe
that if there was an advance it would be compara-
tively small, and probably not more than 10
per cent. However, the second week of the new
year was ushered in by announcements from all
the card manufacturers, stating present market
prices of cards and folders, same to go into effect
without notice. In going over the new prices,
it is found that the most startling advances are
shown in the low-priced mounts, and particularly
in the heavy boards for solid mounting. For
instance, 8 x 10 black or gray cardboard that
used to sell for $1.00 a hundred, is now quoted
at $1.85 per hundred by one manufacturer and
$2.00 per hundred by another. The same pro-
portion of advance holds true in other sizes.
View mounts show advances that are equally
as startling. For instance, the Federal view
mount was formerly sold at $1.85 a hundred for
the size B, and later for $2.00 per hundred, and
is now $3.25 per hundred. The C, for 6| x 8^,
is now $5.25, and the D, for 8 x 10, $6.50. The
Meadowbrook, another popular view mount,
which formerly sold at $1,90, is now $2.75 per
hundred for the B and $4.75 for the C and $5.75
for the D. The Hudson, which was formerly
$2.25 for the 5 x 7, is now $3.50. These advances
are quite startling, and we confess were much
greater that we anticipated. Solid mounts in

(119)

120

NOTES AND NEWS

6x9 and 7x11 have advanced materially, but
not quite so much as the view mounts. For
instance, Roberta, F-L, which formerly sold at
$1.80 per hundred, are now $2.45 per hundred.
Mezzo, which formerly sold at $2.80, is now
$3.25. These quotations reflect the proportion
of advance generally through the better grades
of stiff mountings.

The higher price folders, which are made
mostly of cover stock and bristols, show advances
averaging from 10 to 15 per cent. For instance,
the 7x11 Alvin, which formerly sold for $6.00
per hundred, is now $6.50. The Angora, which
formerly sold at $6.25, is now $6.75. These
advances do not hurt nearly so much as the
cheaper grades, and the percentage of increase
is not nearly so high. Some of the cheaper
grades of folders, such as postcard folders, show a
rather higher percentage of increase. For
instance, Koneyile used to sell for $2.25 a hun-
dred, and it is now $2.80. The Hub folder used
to sell for $2.25, and it is now $2.75. From
information that we have obtained from the
manufacturers, it seems that if the price of
photographic mountings had been based strictly
upon the raw material costs, these advances
would have been more gradual. It seems that
the manufacturers had bought heavily of raw
stock, and as the paper market advanced, they
did not change their prices, but continued to
give the photographer the benefit of their heavy
purchases at lower prices. As their stocks
became exhausted, they realized that they would
have to go into the market and buy the raw
stock at prevailing the prices, which, by this
time, had advanced so much over the prices in
effect six months ago that the unusual advance
just announced was necessary. While some may
be inclined to object to so heavy an advance
coming so suddenly, it is well to consider that
the manufacturers have rendered the public a
distinct service in maintaining prices at the
former levels as long as they did.

There is another aspect of the present situa-
tion which demands careful consideration, and
that is the prospect of losses when the period of
advancing prices is over and lower prices are in
effect. Every manufacturer and dealer is com-
pelled to buy large stocks in advance in order to
supply his trade. While his purchases may
increase or decrease, according to the prospects,
under any circumstances he has invested a large
amount of money, even at the minimum. If he
does not take advantage of some of the profits
that he is entitled to on the advancing market,
he will be compelled to take his losses whether
or no on the falling market. He has to dispose
of the stock he has on hand, and is compelled
to sell at prevailing prices, and it is obvious that,
as the selling price on a falling market is less than
the original cost for raw materials and the cost
of labor, he is losing money very rapidly. Unless
he was able to make a little extra profit on the
rise, he will be unable to stand his losses on the
drop, and, as everyone knows, these losses are
inevitable.

Among the manufactured articles, there are
numerous price changes, none of which, however,
are of startling importance. The Halldorson
flash machine has advanced from $30.00 to $35.00.
The Northern Light has advanced from $60.00

to $65.00. As the new price lists for the spring
and summer are not out yet, we are not familiar
with the exact future prices of a great many
articles used by the photographer, and so are
unable to give figures, but we have information
to the effect that there will be quite a number of
small advances in the line of photographic
apparatus and accessories.

The developing chemicals are coming down,
praise be to Allah ! Kodelon is now 65 cents per
ounce, which price compares favorably with the
price of developers before the war. Hydrochinon
is now $2.50 per pound, which compares favor-
ably with $6.50 a few months ago. Other
American-made developers range in price from
85 cents to $1.00, and at these prices with the
economies in vogue that the war has forced upon
photographers, developing preparations are now
cheaper than before the war. Pyro still is strong,
with chances favoring a stable market so long
as ships are scarce on the ocean and freight rates
are high, for all of the raw material from which
pyro is made comes from India and the South
Seas. Potassiums are very nearly down to normal,
and taking the chemical situation throughout we
would say that present price conditions are most
gratifying.

As to the best methods of handling the situa-
tion, the photographer is compelled to work out
his own problem. In our judgment, little would
be gained by buying heavily of chemicals or such
articles as are liable to drop further. Card stock
at present levels can be bought without appre-
hension, for everything indicates that there is
little chance of a violent drop for several months.
However, we do not believe that heavy purchase
would be wise, for it is within the scope of possi-
bility that some unlooked-for crisis may arise
which would send prices crashing in all direc-
tions. We repeat, however, that such a crisis
would be unlooked for, and in our judgment it is
improbable, yet highly possible. In plates and
papers we have no information indicating that
there is any prospect for change in prices, either
up or down, and these articles are of a perish-
able nature, so very little can be gained in trying
to load up against an advance. It is a period
that demands shrewd observation and careful
action for any merchant who is trying to make
money while the making is good, and to keep
from losing money when losses are the general
rule.

This great war,

The strife, the stress

Have made our prices
More than less.

'Tis not our fault,
It has to be,
The fault lies way across the sea.

— Taprell, Loomis & Co. Announcements

Fotocraft Changes Name

The name of Fotocraft, under which so much
has been accomplished during the past five
years for the advancement of art in Bangor,
Maine, was changed, and hereafter will be known
as the Bangor Society of Art. This has been
done, after mature deliberation, in the belief
that under this name more liberal policies may
be adopted and carried out, which shall prove

NOTES AND NEWS

121

to be of greater benefit to the community, and
it is earnestly hoped it will receive the hearty
support of every one interested in promoting
the love of art in all its branches.

Kodak Advertising Contest Results

Three thousand dollars has been distributed
in ten cash prizes to the winners of the 1916
Kodak advertising competition.

Competition was keen and the work of the
judges was made all the more difficult by the
great number of really good pictures entered.

The decisions were often close, but the judges
made their selections in a fair-minded way. They
were guided in their decisions entirely by the
merits of the pictures — their suitability for adver-
tising purposes.

The pictures entered in the 1916 contest have
been especially interesting because they showed
remarkable originality — -a great diversity of ideas
with selling points — pictures that told a story,
and many of them that told their story excep-
tionally well.

The use of photographs as illustrations in
advertising is growing rapidly. Not alone in the
national magazines, but in special advertising
and catalogs, photographs are being used in
greater numbers to show the uses and advantages
of the goods advertised and especially to show the
pleasure or satisfaction derived from their use.

Such pictures, of real people, doing something
real, have human interest. They make other
people want to do likewise, and so create a desire
for the things about which they tell their story.

Our advertising contests furnish us material
for advertising illustrations — our illustrations
interest other manufacturers in the use of photo-
graphs for advertising, and the experience of
those who have competed for our prizes has
taught them much about the requirements of the
man who has something to sell and wants a
picture to help him sell it.

There is a great field for the photographer
who has ideas and knows how to express them
in pictures, for such pictures are worth money to
any advertiser.

The judges of the 1916 contest were Mr.
Ryland W. Phillips, President, Photographers'
Association of America, Philadelphia, Pa.; Mr.
E. B. Core, Yonkers, N. Y.; Mr. Condi Xast,
publisher of Vogue, New York City; Mr. Edward
Hungerford, Advertising Manager, Wells Fargo
Express, New York; and Mr. W. R. Hine, Vice-
President and General Manager, Frank Seaman,
Inc., New York City.

The prises were awarded as follows:

First prize — W. B. Stage, New York.

Second prize — Chas. Luedecke, West Philadel-
phia, Pa.

Third prize — Karl Struss, New York.

Fourth prize — Chas. E. Mace, Estes Park, Col.

Fifth prize — A. Van, Toronto, Canada.

Sixth prize — J. B. Hostetler, Davenport, la.

Seventh prize — Harry Steffens, Cleveland, O.

Eighth prize — Wm. S. Ellis, Philadelphia, Pa.

Ninth prize — Wm. C. Motteram, Philadelphia,
Pa.

Tenth prize — Fashion Camera Studio, New
York. — Studio Light.

Courage

He who lacks courage has no place in business.

Spend money for advertising.

Improve and beautify your reception room.

Stick four-square to list price.

Promise and deliver the best kind of service.

Borrow from the bank when necessary.

Play fair with competitors.

Be patient with obstreperous customers.

Go after business in a way to make everybody
take notice.

Be steadfastly loyal.

These are but a few. You yourself can
think of many more. Courage lies in your
will. Master your will and you have won half
the battle for success. — The Jeffery Circle.

"Chemistry for Photographers"

By William Ruthyex Flint, Ph.D.
Cloth, price S2.00, net.

This is a book that has been much needed
by photographers. The purpose is two-fold.
First, the chemical principles whose application
forms the foundation of photography are set
forth in a manner both intelligible and interesting.
In order to fix these principles in the reader's
mind and to aid him in the acquisition of a better
chemical technique, the subject matter has been
so arranged as to permit the introduction of a
series of illustrative experiments.

Second, without in any way interfering with
the foregoing intent, it has been possible to add
very materially to the practical value of the book
by incorporating much useful chemical and
photographic information in the way of solubili-
ties, formulas, etc. This information has been
so simplified and tabulated as to make it excep-
tionally convenient for reference purposes.

Supplied through this office.

Toronto Camera Club

Fourteenth Salon — ■ twenty-sixth annual
exhibition — to be held May 2 to May 16 inclu-
sive, 1917, in the Art Museum of Toronto, No. 26
Grange Road, Toronto, Canada.

The annual exhibition is intended to bring
together a thoroughly representative collection
of all that is best in pictorial photography, and
the committee hopes that this prospectus will
be accepted as a cordial invitation to submit
new and distinctive work. The exhibition is inter-
national in character, and is open to members
and non-members alike without distinction.
The committee welcomes the friendly coopera-
tion of photographers at home and abroad in
its efforts to make the forthcoming exhibition a
worthy successor to those which have preceded
it and a true reflection of the present position of
pictorial photography.

Mr. Herford T. Cowling Accepts Position with
Burton Holmes

Mr. Herford T. Cowling, who for several
years has been employed in making motion and
still pictures for the U. S. Government, has
resigned to accept a position with Mr. Burton

122

NOTES AND NEWS

Holmes. After spending the month of February
filming the Canadian winter sports they will
start on a seven months' trip to the Orient and
the South Sea Islands. The trip will include
Hawaii, the Philippines, China, Japan, Australia,
New Zealand, and other interesting and out-of-
the-way places. They expect to secure motion
pictures of the only existing cannibal tribes, but
have not yet announced whether they will carry
the banquet with them.

Mr. Cowling's beautiful and unique films of
Government activities and little-known western
scenery have been largely instrumental in the
recent awakening to the educational value of the
motion picture and the resulting Federal appro-
priations for such work.

Mr. Cowling was obliged to cancel a number of
local engagements in order to join Mr. Holmes
on February 1, among others being one to address
the Federal Photographic Society, of which he is
the president, on the cinematographic art.

"Rexo" Products

"Every click a picture" is the new slogan
Burke and James, Inc., of Chicago, have taken
for the Rexo Cameras, film and paper.

The Rexo film, which they are now in a posi-
tion to supply the market, is a high-grade product.
The negatives, we find, are remarkable for their
brilliance and excellent printing qualities, the
emulsion very rich in silver, insuring fewer fail-
ures. They are also orthochromatic. A trial
would be well worth while.

The new Rexo booklet is ready, and can be
had of your dealer, or direct from the manu-
facturers of Rexo products.

A Beautiful Catalogue of an Important Exhibit

The catalogue of the fifth international
photographic salon, held under the auspices of
the California Camera Club, has come to

hand and is an unusually fine example of tasteful
presswork. There are sixteen effective repro-
ductions of prints exhibited and the entire con-
tents are consistent and worthy of so notable
an event. Indeed, this organization is to be
heartily congratulated on this commendable
achievement, and in fostering pictorial photog-
raphy toward a higher artistic expression.

"Exposures Indoors"

Is the title of the latest issue (No. 157) in
The Photo- Minature Series. This timely and
truly valuable little handbook gives clear and
practical information about the hundred and
one problems surrounding indoor exposures —
interiors or portraits — in homes, churches,
factories, offices, and public buildings. The
controlling factors are explained, with tables
and helpful diagrams. We know of no better
text-books for the photographer who wants to
know than this practical series, covering a wide
range of information at the low cost of twenty-
five cents each. Copies supplied through your
dealer, or this office.

Hicrography Becoming Popular.

Now that photographs can be made in color,
using your own camera, simply by taking a pack
composed of two plates and a sensitized film,
slipping it in an ordinary single plate into your
camera, whatever the make, and taking a pho-
tograph in color, of which you may make as
many reproductions as you want, photographers
all over the country are making inquiries — for
all this is actually made possible by "The Hi-
block."

Many felt that color photography was to
them a forbidden field so long as a special camera
was required. But the Hiblock does away with
all that. Here, bound together, are two sensi-
tized blue and red plates with a green film inter-
posed. One exposure only, as usual, and you
have the colors separated and held by the three
plates. Like every large epoch-making develop-
ment, it is simple and it is just as simple for you
to perfect yourself in its use. The Hess-Ives
Corp. will gladly send you a booklet telling you
fully about the Hiblock and its possibilities — a
subject that no progressive photographer whether
he be professional or amateur should pass by
without full investigation. Simply a line and
this literature is yours for the asking. Address
1201 Race Street, Philadelphia, Pa.

An Amidol Developer which Gives Strong
Contrast

The following is recommended as giving very
strong contrast and will interest those who
like amidol:

Water . . . . . . . 10 oz.

Amidol 24 gr.

Anhydrous sodium sulphite . 80 gr.

Sodium bisulphite solution . 1 oz.

Potassium bromide . . . 20 gr.

Especially suitable for bromide paper.

AMONG THE
^OCIETIEJ*

Federal Photographic Society, Washington, D. C.

On Thursday evening, January 4, 1917, Mr.
Carl Oswald, Washington representative of the
Bausch & Lomb Optical Co., addressed the
Federal Photographic Society at the New
National Museum on the subject of "Photo-
graphic Optics."

Mr. Oswald's address was well illustrated with
stereopticon slides. The merits and demerits
of photographic lenses, from the "pinhole" to
the most modern anastigmat lens, were discussed
in a most able manner. Mr. Oswald laid special
stress on the defects of lenses and their cause;
but, unlike most lecturers on the subject, he
pointed out how to locate the defects and a
remedy if one was to be had.

The Federal Photographic Society has
arranged a program for their meetings to be held
during the winter which they believe will be of
great interest to the public and at the same time
be of great educational value to the photographer.

Regular meetings are held in room 43, at the
New National Museum, on the first Thursday
of each month.

The officers for 1917 are: Dr. Thos. W. Smillie,
honorary president, Smithsonian Institution;
H. T. Cowling, president, Interior Department;
A. H. Linsenmeyer, first vice-president, Interior
Department; L. W. Beeson, second vice-presi-
dent, Department of Agriculture; E. L. Crandall,
corresponding secretary, Department of Agri-
culture; F. B. Kay, recording secretary, Navy
Department; A. A. Ruark, treasurer, Depart-
ment of Agriculture.

Executive Board: J. E. Bishop, War Depart-
ment; E. S. Shipp, Department of Agriculture;
J. C. Carter, Department of Agriculture.

Anyone who has passed the U. S. Civil Service
examination for photographer, or _ who is in-
terested in the advancement of scientific pho-
tography, or who is actively engaged in photo-
graphic work, is eligible to active membership.
Any one interested in the art of photography
may be eligible to associate membership.

In all cases, applications for membership will
be passed upon by the board of directors. Tho
annual dues are three dollars, payable in advance
or quarterly in advance. These dues, which will
be returned in case the application is rejected,
should accompany the application.

Address all communications to Mr. E. L.
Crandall, corresponding secretary, 1752 Euclid
Street, N. W., Washington, D. C.

Middle Atlantic Association

The Middle Atlantic States Association
comprising Pennsylvania, District of Columbia,
New Jersey, Delaware, Maryland, and West
Virginia, has made arrangements to hold its
annual convention in the Scottish Rite Temple,

Philadelphia, on March 27, 28, and 29. A
splendid program has been prepared, including
the services of Pirie MacDonald, Alice Boughton,
Buxbaum, Clarence White, Eduard Blum, Mrs.
Bradin, E. Myer Silverberg, the artist, and others.
Allowing for the usual enthusiasm with each
new meeting place, this promises well.

Missouri Valley Association

This year's annual convention of the Missouri
Valley Photographers' Association in Kansas
City gives promise of being one of the largest
gatherings ever held in the middle west, according
to L. S. Kucker, president of the association.
Mr. Kucker has returned from Kansas City,
where he attended a four days' meeting of the
executive board.

The meeting was held, among other purposes,
to select the dates for the annual convention.
The gathering will be during either the last week
in July or the last week in August, in Convention
Hall.

Plans for instituting a membership campaign
were discussed. The present membership is
about 300. It is expected that this number will
be doubled before the coming convention. Here-
tofore, it has been the custom to increase the
membership by soliciting photographers not
members who attend the association meetings.
The new plan is to enlist the cooperation of
dealers in photographers' supplies and repre-
sentatives of wholesale houses to solicit new
members when coming in contact with the trade.

Meeting of Geneva Section, New York State
Association

A meeting of the Geneva Section of the New
York State Association of Professional Pho-
tographers was held on January 30th, in the
studio of Miss Mary Stewart, Canandaigua,
N. Y., chairman of the association for this sec-
tion. Members of that district and officers of
the State Society were present. Among those
present were: State President E. L. Mix and
ex-President E. B. Core, both of New York; Vice-
President J. E. Hale, of Geneva; H. B. Tuttle
and Mr. Gilmore, of Geneva; E. E. Spedding, of
Ithaca, and N. W. LeClear, of Waterloo. Dinner
was served at the J. E. Murphy restaurant.

Professional Photographers' Society of Rochester
Banquet

The Professional Photographers' Society of
Rochester held a banquet on January 31, at the
studio of L. E. Allen, No. 158 Main Street east,
Rochester, N. Y. The guests were E. L. Mix,
of New York, President of the New York State
Society, and E. B. Core, of Yonkers, State Vice-
President. E. A. Smith, of Honeoye Falls. J. E.
Mock and William M. Furlong were the speakers.

(123)

THE WORKROOM

By t5e JfeacT Operator

Acid Bleachers

Toning Lantern Slides

Development of Plates after Fixing

Slow Development for Diapositives

Obscuring the Skylight

Lenses and Plate Sizes

Working-in Backgrounds

An Adjustable Exposing Box

An Improved Method of Covering Autochromes

Intensifying Bromide Prints

Toning Gaslight Prints with Uranium and

Sulphur
A Chemical "Fade-out"'
Adjustable Exposing Box

Acid Bleachers

In photography one of the most frequent
causes of failure is the habit of using solutions
of which the composition is doubtful owing to
their having been used before. We do not know
how much of this or that ingredient has been used
up; and, in practice, it may be taken as certain
that the best policy in the long run, in all impor-
tant operations, is to avoid risks, by using fresh
solutions wherever possible.

For this reason, the acid bichromate and acid
permanganate bleachers possess a great advant-
age over ferricyanide and bromide, because they
are so cheap that there is no temptation to store
them and make them serve over and over again.
Moreover, they are both to some extent, the
permanganate especially, hypo eliminators; so
that traces of hypo which would be fatal in the
presence of ferricyanide may be ignored, par-
ticularly when permanganate is used. With
bichromate I am uncertain on this point, but
have a suspicion that the tone is slightly affected
by the presence of hypo.

An Acid Bichromate Formula

The bichromate bleacher may vary widely in
composition as far as the relative proportions of
its ingredients are concerned; but the most
efficient and active combination is made by
taking forty minims of a 5 per cent, solution of
potassium bichromate, sixty minims of dilute
hydrochloric acid (pure hydrochloric acid, sp. g.
1.16, diluted with four times its bulk of water),
and adding water to make one ounce. The
solution will keep in corked bottles.

With fresh solution bleaching is complete,
unless the print is exceptionally deeply printed
or strongly alumed, in from one to one and a
half minutes, and there is usually a faint image
left. Some workers get patchiness, but this I
cannot understand; it is a thing which ought
never to occur. Failure in bleaching with
bichromate is generally due to the yellow stain
(124)

Effect of Light on Solid Silver Chloride and

Bromide
Substitute for Platinum

Development with Two Separate Solutions
Photography on Fabrics in Place of Paper
Newsiness in a Picture. What Is It?
Notes on Lantern Slides
The Use of Chiffon in Enlarging
Fog — and How to Deal with It
A Rapid Fixing Bath
Overworking the Developer
Handling Undeveloped Plates
The Height of the Camera
Random Notes

not being got rid of before sulphiding. By
artificial light this stain is easily overlooked; and
the result is a yellowness in the final tone which
no subsequent clearing will remove. The stain
may be washed out before sulphiding, but this
takes time.

An Effective Clearing Bath

The use of an ordinary clearing bath is
attended with some risk; but one made as I will
describe, which contains hydrochloric acid and
not too much sulphite, acts quickly, and may be
used with perfect safety. This clearing bath
consists of a dram of a 25 per cent, solution of
sodium sulphite, and a dram and a half of dilute
hydrochloric acid, as just mentioned, diluted
with water to make four ounces. It should be
noted that if a clearing bath containing bisulphite
or metabisulphite, or alum, is used, it is necessary
to add a certain proportion of common salt to
safeguard the image.

The clearing solution just described may be
kept in a concentrated form, say four times the
strength given above, and then diluted as
required. It takes from one to two minutes at
most, and should the action not be complete
in this time, it may be taken as certain that the
clearing bath is used up. It is efficient only so
long as it smells distinctly of sulphurous acid.
Old solution should not be strengthened or
returned to the stock, but thrown away.

After clearing, the prints only require rinsing
in about three changes of water, occupying about
one minute, before sulphiding. The sulphide
solution should be fresh and of a strength of
about two grains to the ounce. To make sure,
it is just as well to finish with a second bath of
fresh sulphide. The tone is exactly the same as
if we used ferricyanide.

The only objection to be raised to bichromate
is its poisonous action on the skin; but if prints
are bleached singly there is no need to bring the
solution in contact with the fingers, so that this
objection has no force.

THE WORKROOM

125

Bleaching with Acid Permanganate

Coming to acid permanganate, an efficient
and simple formula is one which can be made up
as required from two stock solutions: (A) A
solution of 40 grains of potassium permanganate
in water to make one pint, and (B) pure hydro-
chloride acid diluted as described above. These
solutions keep indefinitely, and the bleacher is
made by taking a dram of A, from 50 to 60
minims of B, and diluting the mixture to make
1 ounce.

Bleaching with this takes about one and a
half minutes, and a very slight image, if any, is
left. The very slight pink stain may be dis-
regarded, and after a rinse in, say, three changes
of water, occupying about one minute, the prints
may be sulphided direct. In order, however, that
the best tone and the purest whites may be
ensured, it is necessary, after the sulphide
solution has been washed out, to pass the prints
through the clearing bath as used for bichromate.

The only objection to permanganate is that the
mixed solution will not keep, and that, if bleach-
ing is prolonged, it may become muddy in use.
Should this occur, however, no harm is done. All
that is necessary is to add a little more stock
solution A and continue the bleaching. There
will be perhaps more stain, but that is very
easily removed in the final clearing bath after
sulphiding.

Permanganate and Phosphoric Acid

Recently, however, the writer has worked out
an acid permanganate which does not suffer
from these disabilities, while it is quite as active
and efficient as the mixture of permanganate and
hydrochloric acid. This is also made up from
two stock solutions: (A) 40 grains of potassium
permanganate in 20 ounces of water, as just
described, and (B) 2 ounces of common salt
and a half fluidounce of "syrupy phosphoric
acid 66 per cent., sp. gr. 1.5," with water to
make 20 ounces.

It is essential that the salt be free from added
farina, which is present in some fancy table salts.
A salt which yields a clear solution in cold water
will be satisfactory.

The working mixture consists of 1 dram of A
and 4 drams of B, with water to make 1 ounce.
This quantity is sufficient for a print of about
30 square inches or less, which works out at
4 ounces of solution for a 12 X 10 inch. Should
this prove insufficient, it is only necessary to add
to the mixture in the dish a little more stock
solution A. The solution does not become
muddy, nor does it deposit any sediment on
standing. With the addition of more A it may,
in fact, be used for several prints in succession,
while in all other respects it resembles the
mixture of permanganate and hydrochloric acid
previously described.

Instead of the phosphoric acid we may sub-
stitute, along with the salt, potassium bisulphate,
sometimes called pyrosulphate, K2S2O7, but the
phosphoric acid is preferable. If the salt is
omitted, either mixture may be used instead of
the usual acid permanganate as a reducer for
negatives.

Non-acid Permanganate

A solution containing half a grain of per-
manganate and 24 grains of salt to the ounce
will act as a bleacher by itself. It takes about
double the time of the acid mixture, leaves a
considerable image, free, however, from any
patchiness, and causes much stain, but this
yields readily to the clearing bath as used for
bichromate. A most curious thing is that this
non-acid permanganate invariably yields a dis-
tinctive tone, viz., a pure warm brown. It is
most suitable for fairly vigorous prints and
strong sunshine effects, particularly in woodland
subjects. In close proximity to prints of the
usual sulphide tone, it tends by daylight rather to
yellowness, so that its use is indicated more for
special pictorial than for general work.

One other point should be mentioned. In
using acid bleachers it is necessary to avoid
contact between the liquid and metals or com-
pounds of the heavy metals. A friend of the
writer could never succeed with permanganate
until it was discovered that he was using dishes
painted with bath enamel. All dishes must be
acid-proof, or covered with acid-proof varnish.
Enamelled iron, glass, porcelain, or vulcanite
are perfectly safe.

As regards the relative cost, phosphoric acid,
being the stronger acid, works out in practice as
cheaper than hydrochloric. Bichromate, if used
to the point of exhaustion, is probably slightly
cheapter than permanganate at present prices,
but as the bichromate is unlikely to be anywhere
near used up, the cheapest of all is probably
phosphoric acid and permanganate. — T. H.
Greenall in Photography.

Toning Lantern Slides

At the present time of year, when lantern-slide
making and the exhibition of lantern slides for
lectures are occupying the attention of many
photographers, the question of economy in pro-
duction is frequently an important one. The
division of negatives into groups of approximately
similar density, the careful testing of exposures
and the use of a developer of pre-ascertained
strength, for dealing expeditiously with under,
over, and normal exposures are points to be con-
sidered.

Yet the fact remains that, in spite of these
precautions, a considerable number of lantern
plates are spoilt every year by amateur pho-
tographers. The usual suggestion offered for
the utilization of spoilt lantern plates is to clean
off the gelatin and use the glass for cover glasses.
But the slide need not be discarded unless the
film itself has been damaged. If the gelatin
is intact the slide should be properly fixed,
washed, and dried, and an attempt made to
save it by transforming it into a slide of correct
density. It is not always easy during develop-
ment to gauge the exact density of the finished
plate, and as the coating of emulsion on lantern
plates is very thin, so much is lost in fixing that
one is frequently left with a slide too thin to be
of any use.

Weak or thin lantern-slide prints can be
intensified to almost any extent by suitable

126

THE WORKROOM

methods, and as there are several methods of
intensification which give at the same time very
pleasing tones, a double purpose can be served.
If, however, development has been carried too
far, in conjunction with a full exposure, the slide
will be too dense for showing on the screen, and
reduction must be resorted to. In this case the
ordinary hypo-ferricyanide reducer can be used
with advantage to bring down the density. In
fact, a great number of eminent slide-makers
always slightly over-expose and over-develop
their lantern plates, and so produce a full, dense
image, containing all the gradations of the
original. The image when produced under these
conditions has generally a tendency to be a
warm black in color, and when reduced back to
normal density frequently assumes a very
pleasing cool sepia tone; and, in addition, the
slide takes on a sparkle and brilliancy that lend
an added charm to the picture when seen on the
screen. In the toning methods which follow
it is assumed, however, that the slide has not
been developed far enough, and the image is
too thin.

In practically all methods of toning or intensi-
fication (or both) success primarily depends on
the complete washing out of hypo from the film
after fixing; it is almost equally important that
the fixing be sufficient. A lantern plate will
usually appear fixed in from three to four minutes,
but the process is not complete as soon as it
appears to be. Give the plates ten minutes to
fix, and wash them in at least ten changes of
water of five minutes each, or in running water
for half to three-quarters of an hour. Hypo
eliminators are very useful to ensure ridding
the film from the last traces of hypo, but they
are never necessary if you give ample washing
in ordinary water.

A beautiful warm black, accompanied by
intensification, is obtained by first bleaching the
plate in —

Mercury perchloride
Ammonium chloride
Water . . . .

20 gr.

4 oz.

When the film appears creamy white, thoroughly
wash it, and then "redevelop" in

Sodium sulphide
Water . . .

2 oz.
10 oz.

The image returns in this solution, considerably
more vigorous in character and a beautiful
brownish-black:

A still warmer brown is obtained by first
bleaching in the following solution:

Potassium ferricyanide
Potassium bromide
Water

20 gr.

60 gr.

4 oz.

When "bleached," the plate is well washed, and
treated with the sodium sulphide solution given
above.
. A bright reddish-brown tone, also accom-
panied by intensification, and therefore very
suitable for weak or thin images, is obtained in
one operation with the uranium bath. This is
prepared as follows:

Uranium nitrate . . . . 20 gr.

Potassium ferricyanide . 20 gr.

Acetic acid (B. P.) . . . 40 drops

Water 4 oz.

The image quickly turns brown, and finally a
Bartolozzi red, in this bath, and in drying both
the tone and the degree of intensification increase,
so that it should be taken out of the solution,
well rinsed, and dried before the desired tone is
reached. It is so important to have the film free
from hypo in this process that a hypo eliminator
may be used with advantage.

Blue tones can be obtained with plates treated
with the uranium bath by placing them, after
washing, in a solution of:

Iron perchloride
Water . .

i oz.
5 oz.

For dealing with the over-dense lantern slides
referred to previously, making up the reducer is
a point worth attention. It should be fresh, but
not too strong, or the remedy will be worse than
the disease. Dissolve 1 ounce of hypo in 5 ounces
of water. Add a few drops of

Potassium ferricyanide . . \ oz.
Water 4 oz.

until the solution becomes lemon-yellow. Use
at once. Here again the action tends to continue
after removing the plate from the bath, so that
the process should be stopped in ample time, and
the plate thoroughly well washed and dried. —
Amateur Photographer.

Development of Plates After Fixing

By utilizing a complex physical developer, the
composition of which was first given by Neuhauss
(Photoqraphische Rundschau, 1898, p. 257; 1904,
p. 34), the latent images can, as we konw, be
developed on gelatino-bromide of silver plates,
after fixing in hyposulphite of soda.

This process has given satisfactory results only
when greatly over-exposing the sensitive sub-
stances employed. When developing after fixing
by the processes described, the time of exposure
for development before fixing must, in fact, be
multiplied by about 20.

We have endeavored to remedy the inconveni-
ences of the Neuhauss process, which involves too
long a time of exposure, and is complicated and
delicate in application. Moreover, the images
are satisfactory only when development is done
slowly.

We have also considered the possibility of
replacing the silver salts in the developer by
other metallic salts. Experiments soon showed
that the conditions of the previous fixing play an
important role in the final result. By employing
more and more diluted solutions of hyposulphite
of soda for this fixing, we found that over-
exposure became less and less necessary; the
maximum percentage of the fixing-bath seemed
to be about 2 per cent. At this strength the
coefficient of over-exposure falls from 20 to 4
with slow plates, and 6 with rapid plates.

Saturated solutions of sulphite of soda, em-
ployed as fixer, gave us better results still in
the case of fine-grain slow plates, but they are

THE WORKROOM

127

unsuitable for rapid plates, fixation becoming
much too slow.

Development with Salts of Silver

Among the numerous silver salts we em-
ployed, the double sulphite of silver and sodium
seemed the best. We consequently replaced the
complicated Xeuhauss developer with the follow-
ing formula:

Water 1000 c.c.

Sulphite of soda, anhydrous 180 gm.

Nitrate of silver .... 75 gm.

(This formula was recently published by M.
Chanoz, to whom we sent it apropos of the de-
velopment, after fixing, of prints obtained with
X-rays (Comptes Rendus, T. 152, p. 1576). M.
Chanoz thus obtained good results in developing
radiographic prints after fixing.)

Water 1000 c.c.

Sulphite of soda, anhydrous 20 gm.

Paraphenylene-diamine . 20 gm.

For a plate 13 x 18 cm. take:

Solution A
Solution B

150 c.c.
20 c.c.

The paraphenylene-diamine in the solution B
can be replaced by the same quantity of one of the
following developing substances: metol, hydro-
quinone, pyrogallic acid. Either of these allows
of more rapid development than with parapheny-
lene-diamine, but the developer becomes turbid
much sooner than with the latter, and deposits
silver on the image.

Speed of development can be varied by increas-
ing or decreasing the proportion of developing
solution specified in the foregoing formula; the
variations in time of development produce
changes of color of the final image. Moreover,
the more rapid development, the quicker the bath
becomes turbid.

Development with Mercury Salts

We endeavored to replace the silver salt in the
developer already described by other metals, the
sulphites of which are soluble in excess of sodium
sulphite. Mercury alone gave interesting results
and in certain cases the mercury salt seems even
preferable to the silver salt, because it gives less
dichroic and more opaque images.

Moreover, by prolonged development there is
less tendency to fogged images.

Finally, mercury developers remain clear much
longer than silver ones, and deposit no precipitate
on the images, even after long treatment. On the
other hand, the solutions with the mercury base
act slowly, and give images with marked con-
trasts, especially in case of under-exposure. Our
numerous experiments led to the following
formula:

Water 1000 c.c.

Sulphite of soda, anhydrous 180 gm.

Mercury bromide ... 9 gm.

Water 1000 c.c.

Sulphite of soda, anhvdrous 20 gm.

Metol 20 gm.

For a plate 13 x 18 cm.

Solution A 150 c.c.

Solution B 30 c.c.

are employed.

In any case, whether the developer be com-
pounded with silver or mercury salts, fixation of
the plates before development should be done in
a 2 per cent, solution of hyposulphite of soda. —
A. and L. Lumiere and A. Seyewetz. (From
a paper read before the French Academy of
Sciences.)

Slow Development for Diapositives

Fotografia Pratica gives the following developer
as being excellent for developing diapositives
for stereoscopes or for projecting:

Water .... 300 c.c. 3^ oz.

Hydroquinone . . 3 grams 50 grains

Sodium bisulphite . 4 grams 65 grains

Potassium bromide 1^ grams 23 grains

Water .... 300 c.c. 3i oz.

Caustic soda . . 5 grams 77 grains

Water .... 300 c.c. 3| oz.

Ammonium bromide 15 grams \ oz.

Ammonium carbonate 15 grams \ oz.

For normal exposure take 15 c.c. of A (\ oz.), 15
cc. of B. (| oz.), and 8 cc. of C (J oz.) in a half
litre (17 oz.) of water. The picture will appear
in gray-black tone in about ten minutes. For
exposure one and one-half times the normal,
take the same proportions plus 20 cc. (f oz.)
of C. This will give various tones with 15
minutes' development. By exposing three or
four times the normal, using the same developer,
in from 30 to 40 minutes purple or rose tones may
be obtained.

The quantity of water may be doubled or
trebled to prolong the development, without
changing the quantity of chemicals. The more
diluted the developer, the warmer will be the
tone of the print.

Obscuring the Skylight

The following is a suitable formula:

Whiting 13 oz.

Ultramarine blue . 100 to 120 gr.

Gelatin 1^ oz.

Water 24 oz.

Glycerin \\ oz.

Starch \ oz.

Boiled in water .... 10 oz.
(Add B to A)

After all is dissolved, brush it on the glass with a
three-inch flat paint-brush. Warm the solution
every time you move the ladder, and stir it.
Add water a little at a time as the solution is
used, as it will gradually get thicker. The best
effect can be produced by using the solution

128

THE WORKROOM

quite warm and when the sun shines on the sky-
light. The coating can be easily removed with a
sponge in the beginning of winter or in the spring
before recoating.

Lenses and Plate Sizes

It is customary when describing a lens to give
the size of plate which it will cover, so that we
hear of "quarter-plate" lenses, "10x8" lenses,
and so on; but the method is open to objections,
which it will be well to note. An important one
is that in these days, when the rising front is so
greatly used, it is not much use to have a lens
which will only cover a plate of the size that is
employed. If we have, we find that as soon as
the front is raised the bottom corners are cut off,
and in the negative we get patches of clear glass
at the two top corners of the picture instead of
an image. The lens should actually cover a
much larger plate than the one with which it is
to be used. If it will cover a half-plate, it is
none too large for quarter-plate work on a.
modern type of camera. Another objection is
that such a description is not explicit. For
example, it is not evident at first sight that a
"5x4 lens" will cover a 5|x3| in. plate; yet
it will be found that these two sizes are almost
identically the same. A much better plan than
naming the size of plate would be to give the
diameter of the circle over which the lens will
give an image. We should then be able to see
at a glance what plate it would cover, and also
the extent to which the rising front could be
used. Another anomaly that may be mentioned
in connection with this subject is that the extent
of rise permissible with any given lens depends
upon the way of the plate. If this is vertical, it
can be raised more than if it is horizontal. For
example, a lens must cover a circle 6f in. in
diameter, if it is to be used with a quarter-plate
and to allow the front to be raised an inch, with
the plate horizontal, and is not to cut off at the
corners. Anything more than the 1 in. rise will
cause the corners to be cut off; but if the plate
is used the upright way, instead of the horizontal,
the front may be raised nearly an inch and a
half, we shall find, before there is any cutting
off. — Photography.

Working-in Backgrounds

Mix a lot of old 8 x 10 and 5x7 negatives,
cleaned, with some emery flour, water, tin box-
cover, elbow grease, and a rainy day, in such a
way as to result in a lot of 8 x 10 and 5x7
ground-glass, whick keep as stock.

In place of "working-in" a background on
ground-glass varnish, with spring clips hold the
face of your 5x7 negative to the back of an
8 x 10 ground-glass, keeping its edges some
little way from the edges of the ground-glass.
Now on the retouching frame, work up with
pencils on this ground-glass your background,
putting in deeper shadows with vaseline on ball
of finger. To print, adjust back of negative to
face of ground-glass in 8 x 10 frame. Such a
background can be kept for use with other
similar negatives, and modified in a few minutes
to fit each. To print down white draperies,

lay ground-glass face out in frame. Put negative
on this. With vaseline on ball of finger, work
over the drapery. In desperate cases use this
together with ground-glass varnish treatment
on back of negative. You can also modify
backgrounds with pencil and vaseline in the
same way.

An Adjustable Exposing Box

Any time- or labor-saver is always appreciated.
The following device, an adjustable exposing-box,
is easily made and should be especially appre-
ciated by the novice or amateur photographer.

A glance at the sketch readily discloses the
general construction. The tongued top is made
of two strips of half-inch materal far enough
apart to accommodate the printing frame to be
used.

A, PRINTING FRAME. B, CORD TO SOCKET, C, THREE-
POINT SWITCH. D, FORTY-WATT BULB. E, TWENTY-
WATT RUBY BULB,

To operate: Throw the red light on and the
white light off with the three-point switch;
open the printing frame, leaving it still in the
box, and put in the blank print; close and throw
on the white light until of sufficient exposure;
then turn out the white light and throw on the
red.

If the negative or film is of even exposure, leave
the printing frame directly over the white light,
but if the film is of uneven exposure, or if one
side of the picture is to be brought into greater
relief, slide the frame to one side of the light,
leaving nearer the light that side which is to have
the greater exposure.

An Improved Method of Covering Autochromes

Autochromes, if they are to last any length
of time, must be varnished; but it is very diffi-
cult to get a perfectly smooth, unbroken,
varnished surface on account of the dust par-
ticles which are always to be found adhering
to the film. The particles are not obtrusive in
themselves, but they cause the varnish to form
ridges which are very unsightly. These defects
can be completely avoided by cementing the
cover-glass to the plate with Canada balsam;
and as at the same time the plate is made com-

THE WORKROOM

129

pletely damp-proof, the transparency consider-
ably increased, and parallax reduced, it is well
worth the slight extra trouble.

The cementing is best done in front of a fire,
near which the cleaned cover-glass is placed to
get thoroughly hot. The autochrome should
also be warmed, and the balsam applied to it
with a small spatula; although a match-stick is
quite adequate. It should be spread in two
smooth streaks running from corner to corner
of the plate, thicker in the centre. where they
cross, and tapering toward the corners. This
results in a minimum of waste, and when the
cover-glass is applied the balsam can be made
to spread evenly to the edges with very little
trouble. The correct quantity can easily be
judged after one or two trials, the aim being to
use just enough to reach all four edges together
when gentle pressure is applied around the middle
of the plate. Any violent local squeezing should
be avoided, as it usually defeats its own purpose.
The plate should be kept warm throughout the
process or the balsam will not flow. Too much
heat, on the other hand, is liable to crack the
starch-grain coating.

It is important to apply the cover-glass at
one edge first, gradually lowering it on to the
balsam like the cover of a book. If this is not
done, large air-bells are imprisoned between
the cover-glass and the balsam, which are very
difficult to get rid of. Some few air-bells are, of
course, unavoidable, but the majority squeeze
out, and any which remain, if no larger than a
pin's head, disappear in course of time.

When the balsam has worked through all
four edges, the plate should be put aside for a
day or two in a horizontal position in a cool
place where air can get freely to the edges. The
extruded balsam is then removed, and after
another few days for the edges to harden the
plate can be bound up as usual and the glass
surfaces cleaned with benzol or petrol.

The added brilliancy and smoothness imparted
by this treatment is surprising, and is particularly
noticeable when the plates are used for projec-
tion. Autochromes which have already been
varnished, whether with gum dammar or cellu-
loid, can also be cemented with success, any
ridges or flowing-marks being completely ob-
literated. It is, perhaps, unnecessary to point
out that plain thick balsam should be used, the
solution in benzol or toluol being useless. —
Photography.

Intensifying Bromide Prints

It may be useful to give a method of very con-
siderably increasing the strength of bromide
prints. In cases where the weakness of the image
has been caused by over-exposure in the printing
frame or enlarger, it is better to discard the failure
and rectify the error when making the next print,
but in working with a negative possessed of too
little contrast to give an effective result it is an
advantage ot be able to intensify the print. The
writer's previous essays in this direction had not
been too encouraging, and it appeared impossible
to eliminate a frequent risk of staining; it was
then considered that the acid-amidol developer
which had proved so useful in the redevelopment

process might also solve the intensification
difficulty.

To begin with, the dish must be clean — not
only clean to the eye, but chemically so — and it is
quickly brought to this condition by pouring into
it a small pool of strong solution of potash per-
manganate, and adding about half as much
sulphuric acid; this mixture, flowed over the
bottom and up the sides, will leave the dish as
brilliantly white as when it left the pottery, and,
as a matter of fact, porcelain dishes used for
development should be subjected to this treat-
ment when their appearance suggests it.

In the clean dish is placed the fixed and thor-
oughly washed print, which is then flowed with
the bleacher consisting of —

Water 10 oz..

Water 10 oz.

Mercuric chloride (corrosive

sublimate — poison) \ oz.

Hydrochloric acid ... 30 min.

After disappearance of the image a washing is
given in running water of not less than five
minutes. This is ample for a single print, but if
several are being treated together a quarter of an
hour will be necessary, and they will also require
lifting from bottom to top a few times.

Development is effected with amidol a salt-
spoonful, sodium sulphite a teaspoonful, sodium
bisulphite lye 30 minims, water 3 oz. A short
washing completes the operation. — Amateur
Photographer.

Toning Gaslight Prints with Uranium and
Sulphur

There appears to be a great deal of miscon-
ception about the use of the salts of uranium as
a toning agent. The question has often been
asked, What is uranium — because the name has
so often occurred in the line of photography.
Uranium is a metal; it was discovered by Klap-
roth, a Swedish chemist, in 1789. It is obtained
from pitchblende or uranite, these substances
being the natural oxides of uranium. The name
uranium was given this metal after the planet
Uranus, which had then been discovered by Dr.
Herschel, the astronomer. Today it is well
known that uranium and its salts possess the
properties of radium, only in a lower degree; in
fact, radium is regarded as an offspring of
uranium, this latter metal being often spoken of
as the parent element.

There are three salts and two oxides of ura-
nium: the sulphate, chloride, and the nitrate. It
is this last salt that is used mainly in the art of
photography. It can be used either as a sensi-
tizing agent or a developing agent. With these
subjects the present article is not intended to
deal. The use of the nitrate of uranium as a
toning agent for the changing of the color of a
weak black platinum print into a beautiful
Bartolozzi red is very well known. When these
prints are properly treated to secure the right
color, their permanency appears to be as good and
in many cases better than thousands of the prints
made today by some of the silver printing-out
processes.

130

THE WORKROOM

The writer possesses many of these uranium-
toned prints that were made eleven years ago,
and not a single print has faded during this time.
The whites are perfect, and the color remains the
same. In the case of uranium toning the color
obtained is due to a deposit of the ferrocyanide of
uranium, and it will be invariably found that
where failure occurs to secure the right color it is
due to the ferricyanide of potassium (red prussiate
of potash) having been exposed for some time to
the action of daylight, which affects the salt and
makes it useless for toning purposes in combina-
tion with the salts of uranium.

Some very charming colors can be obtained
upon prints made with the gaslight or artificial
light developing papers. The solutions need not
be made as strong as those that are used for the
toning of platinum prints.

Solutions made up as follows will prove satis-
factory, always bearing in mind that the more
acid the bath is made the more intensely red will
be the resultant print. Several prints can be
toned in the bath at the same time, although it is
advisable not to attempt to tone too many at a
time.

For the toning of the ordinary developed print,
make up the following mixtures, and label the
bottles No. 1 and No. 2. The uranium salt may
be made up in a white glass bottle if no other
kind is at hand, but the ferricyanide of potash
solution must be made up in an amber-colored
bottle, owing to its sensitiveness to light.

No. 1 Solution

Nitrate of uranium . . . . 60 gr.
Distilled water 30 oz.

No. 2 Solution

Ferricyanide of potassium (red

prussiate of potash) ... 60 gr.
Water 30 oz.

For making up the correct toning solution,
take equal parts of No. 1 and No. 2. Be sure
and mix them under a weak artificial light (make
under ordinary gas-jet) and carry out the toning
by this light. Add to the mixture (if dry, four
ounces of each are used) one ounce of acetic acid
No. 8 ; rock the tray so that the solutions are well
mixed, then place into it a dried print that has
been thoroughly well washed previous to drying;
now rock the tray so that the solution flows well
over the print, and continue the rocking, when it
will be seen that the print changes color rapidly.
As soon as the print has reached the desired color
remove it and wash well in running water; in fact
until the yellowness has disappeared from the
drapery and the whites of the print. It may then
be blotted off in clean blotters and hung up to dry
by means of a clean wood clip, and when dry
trimmed and mounted like any other print.

Where a gaslight print is to be sulphur-toned
the procedure is entirely different. The two
following formulae will give excellent results, the
brown color and sepia being perfect in every way.

Make up the following solutions:

Water 24 oz.

Ferricyanide of potash ... 1 oz

Water 24 oz.

Potassium bromide .... 1 oz.

Water 60 oz.

Monosulphide of sodium . . \ oz.

The bleaching bath is made as follows: Mix in
a tray five ounces of A and five ounces of B, add
a few drops of strong water ammonia, place
the print into this mixture, rock the tray, stop
as soon as the print has become well bleached.
Remove it and wash well in running water for five
minutes or more. Then place the print into a
separate tray containing about ten ounces of the
sodium sulphide solution, and it will change in
color to a beautiful rich brown. Now wash the
print well for one-half hour in running water^
after which it may be dried and mounted.

The following formula will give a very beauti-
ful sepia when used as a bleaching agent:

Bleaching Solution

Chloride of lime 2 oz.

Common alum ..... \ oz.
Water 30 oz.

Warm this mixture slightly, then immerse
the print, and keep the tray in motion until the
print is completely blaeched. Then wash the
print well in running water for fifteen minutes
and place the bleached print into the following
mixture :

Sulphite of soda \ oz.

Water 20 oz.

Sulphuric acid 2 dr.

The above mixture must be stirred well before
immersing the print. By this means a color is
obtained quite different to the previous formula;
the tone is very agreeable, and all that will be
required after this sulphurizing will be to give the
prints a thorough washing in running water for
one-half hour before drying or mounting.

If a darker color is required the process must be
repeated, but in ninety-nine cases out of a
hundred the single operation is all that will be
required.

A Chemical "Fade-Out"

Photographers who are frequently called
to the laboratory to put the finishing touches
to their pictures may find the following infor-
mation of considerable value to them.

Quite frequently, owing to the cutting of
a picture to present a different continuity,
a "fade-out" is found necessary. One method
of obtaining a desired "fade-out" on the nega-
tive or print is by the use of certain chemical
combinations. One formula from which excel-
lent results have been obtained is as follows:

THE WORKROOM

131

Take a small tray or tank and dissolve 2
drams of potassium ferricyanide (commonly
called red prussiate of potash) within it. After
this compound is thoroughly dissolved leave it
stand for about five minutes. In another tray
dissolve about 2\ ounces of hypo. When it is
fully dissolved mix it with other tray.

Then take your negative or positive and
saturate the parts of the film that require
the greatest reduction with water applied with
a soft sponge. After emulsion is thoroughly
moistened, take sponge and immerse it in
reducing solution; after which delicately apply
the sponge to that portion of the film that must
be reduced to permit a "fade-out."

Should the reducer be slow in acting it is
all the better, as it acts with greater strength
on weak tones or shadow portions than on the
strong tones; and it is safer when working
upon a negative. — Cinema News.

Adjustable Exposing Box

The accompanying illustration shows a handy
arrangement with which an amateur or profes-
sional may make a number of prints of exactly
the same shade of exposure, for once having found
the right distance from the diffusing glass, it is
but a matter of counting off the seconds. As
seen by the cut, the automatic opening and clos-
ing door with the ruby panel permits the use of
the light for both exposing and developing. The
counter-balance attached to the door must be
bent to the angle shown to work both ways.

The box is rectangular in shape, twenty inches
or so in length and large enough to readily accom-
modate the printing frame which is to be used.
The cover, six or eight inches longer still, is
grooved to slide easily and truly. The slot for
the frame is made somewhere over the center of
the exposing compartment.

A, RUBY GLASS IN DOOR. B, COUNTER-BALANCE TO
HOLD DOOR OPEN OR CLOSED (TACKED TO SIDE OF
DOOR). C, ORDINARY ELECTRIC LIGHT BULB RUN
THROUGH THE END OF BOX. D, GROUND-GLASS PAR-
TITION DIFFUSING LIGHT EVENLY INTO EXPOSING
CHAMBER. E, HOLE IN SLIDING COVER THROUGH
WHICH TO LOWER PRINTING FRAME. F,F, TIN STRIPS
TACKED TO SIDES OF PRINTING FRAME TO HOLD
FRAME SUSPENDED IN BOX.

The electric-light fixture is fastened to the end
of the box and a forty watt bulb inserted.

The ground-glass is cut to fit snugly into the
box and spaced about ten inches from the end of
the box. It is well to glue a soft strip of padding,
such as felt, to the top of the glass to minimize the

friction of the sliding cover and to shut out any
chance of stray light. The ground-glass can be
purchased for 30 cents at the drugstore.

The strips of tin attached to the sides of the
printing frame are tacked on and the upper ends
bent as shown to engage the edges of the cover.
They do not in any way interfere with the
operation of the frame.

To operate, experiment on two or three prints
to get the best distance; then, having found it,
leave the cover alone, and make the exposures
all the same length of time.

This arrangement of course is to accommodate
those who of necessity or choice do their picture
work at night.

The device is easily constructed and will soon
pay for its existence in time and labor saved.
When the full light is desired, simply throw the
counter-balance past dead center and the door
opens.

Effect of Light on Solid Silver Chloride and
Bromide

Colloidal metallic fogs are usually produced
by fusing salts in contact with corresponding
metals. The silver halides also form fogs when
the solid salts are exposed to light. Optically
clear crystals of silver chloride and bromide
become more or less opaque and dark in color
when exposed to a beam of light, but remain
at first optically clear, the beam being invisible.
Later the surface at which the beam enters
becomes brown, and particles visible by the
ultra microscope are formed. The particles
grow rapidly and will continue to grow if the
crystal is removed from the light and heated
to 350° centigrade.

Heating in the absence of light does not
produce particles. The growth of the particles
is accompanied by a diminution of the colora-
tion in their immediate neighborhood. The
effect is evidently due to the separation of
metallic silver in a colloidal form, growing in
size as the illumination is continued.

These facts strongly support the view that
the latent image consists of colloidal silver in
an ultra microscopic form. — R. Lorenz in
Journal Chem. Soc.

Substitute for Platinum

A close imitation of the platinum print (now
prohibitive) may be had by the use of the fol-
lowing formula:

Make up first (A) the iron solution:
Ferric oxalate, clean bright

crystals 560 gr.

Oxalic acid 75 gr.

Distilled hot water ... 3| oz.

Then make a solution of permanganate of potash,
30 grains, and water, 1 ounce, which add to the
iron solution.

Next (B) make a solution of 250 grains of
nitrate of silver in 3| ounces of distilled water.

For sensitizing, take 7 parts of the iron solu-
tion (A) and 3 parts of the silver solution (B).

Select a good grade of paper, with sufficient
sizing to prevent absorption of the fluid.

132

THE WORKROOM

If unsized paper is used, size with 15 grains of
gelatin to the ounce of water, or with a thin
starch.

The paper is coated by dipping a wad of cotton
in the solution and brushing it evenly over the
surface. The cotton should be well charged with
the liquid, and after the surface has been well
covered, the coating must be blended either by
means of a brush, dipped in the fluid and shaken
out, or by squeezing out the wet wad of cotton
and going lightly over the surface.

Expose as with the genuine platinum paper;
that is, until the detail in the high-lights just
begins to show, and develop in oxalate of potash
of the same strength as that used for the plati-
num print. Wash in two changes of weak acid
water — one dram acetic acid (No. 8) to 30
ounces of water. Fix in hypo, 1 ounce; water,
16 ounces. Wash well. — Bulletin of Photography.

Development with Two Separate Solutions

Development is of all the photographic pro-
cesses that one upon which the greatest changes
have been rung. If we turn back to the text-
books of a decade or two ago we find that they are
filled with elaborate descriptions of the way in
which the developer has to be modified to suit
some particular conditions, or to adjust it to
counteract errors that have been made in the
exposure. Much of this we seem to have left
behind. Such modifications are now rarely heard
of, and are probably only practised by a few repre-
sentatives of the "old school." We have gone to
the other extreme; and in doing away with com-
plications which were of no utility it is possible
that we have lost sight of some which at times
might be extremely valuable. One of these is
that which we propose to describe briefly in this
paper, namely, development with two solutions.

The particular feature about this method is
that, unlike those which depend upon alterations
in the composition of the developer as a whole,
which cannot affect the density ratios, this is a
kind of automatically-applied local action which
does affect those ratios, tending to give propor-
tionally greater development action in the least
exposed parts than it does elsewhere. Moreover,
as the effect of prolonging development when this
method is adopted is to continue the action of
the developer upon the less exposed parts, after
development has practically ceased in the fully
exposed parts, we can exercise a certain control
over the effect by the length of time that the
development is allowed to go on, contrast in the
shadows being increased without fear of the high-
lights getting too dense. It is therefore useful
when the photographer has to deal with subjects
in which the contrasts are extreme. Perhaps the
reason for this will be more apparent after the
method of working the process has been described.

Two-solution development can be used with
almost any of the developers that are commonly
employed. It may not be practicable with
amidol and those compounds which, like it, do not
require an alkali to render them active, but to
any of those which do, the system is applicable.
The developer itself — in the stock solutions, that
is — must be kept in two solutions; it is obvious
that a ready-mixed single solution could not be

used. It is with pyro-soda that it is likely to be
most frequently applied, and the following ac-
count of the modus operandi deals with that
developer.

Assuming that the pyro-soda developer in use
is kept in the form of a ten per cent, stock pyro
solution preserved with metabisulphite, or some
similar salt, and that the alkali or No. 2 solution
is one of a strength of a pound of sodium sulphite
and a pound of sodium carbonate dissolved to
make eighty ounces in all, we make the working
pyro solution by taking a hundred and twenty
minims of the stock pyro and diluting this to
make three ounces in all. This gives us a bath
of pyro containing four grains to the ounce, which
may be taken as the weakest that is at all likely
to be required. The strongest might consist of
one ounce of the stock solution diluted to make
three ounces, or a strength of sixteen grains to the
ounce, but with a very strong pyro solution the
particular advantage of two-solution work is lost.
The alkali or No. 2 bath may consist of one part
of the stock sulphite and carbonate solution with
two parts of water.

The plate is first placed in the dilute pyro solu-
tion, and the dish rocked until there is no doubt
that the whole of the surface has been well wetted
and is absorbing the liquid. The dish can be
covered, as there is nothing to see, unless it is to
make sure that the liquid is flowing all over the
film, and with occasional rocking the plate may
remain therein for five minutes. Longer than
this will do no harm, and if there are several
plates to develop one may be soaking in the pyro
while the other is being brought out in the alkali.
On taking it out of the pyro, the surface is rinsed
for a moment only, and the glass side as well, so
that the only pyro carried into the alkali is that
which is contained in the pores of the gelatin.
At this point no image will be visible, but on
placing the plate in the alkali solution and gently
rocking the dish the image will make its appear-
ance very quickly. The subsequent action is
very similar to that which takes place in the
ordinary form of development, except as regards
the gradation.

It will be apparent at once that when a plate is
developed in this way there is a limit set upon the
extent of development which is possible by the
exhaustion of the pyro solution. A fully exposed
part of the negative is developed as far as the
limited allowance of pyro which it has absorbed
will allow the action to go, but when this has been
used up the development in that part will cease.
But in a part which has only been slightly ex-
posed— which will have absorbed just as much
pyro — the pyro will not be used up anything like
so quickly, and so the action can go on for a much
longer time. A little of the pyro will diffuse out
into the liquid generally, so that one cannot
expect to get quite abrupt stoppage, but in
general what has been described takes place.

The result of carrying out development in this
way is that after a certain stage in the operation
has been reached, the high-lights of the negative
cease to gain density, whereas the shadows and
half-tones continue to do so for some time longer.
When the action has gone far enough the plate is
taken out and fixed.

While this describes the process in outline, it

THE WORKROOM

133

may be pointed out that the photographer need
not keep to the proportions given for the dilute
pyro solution, but may vary them as observation
indicates. It will depend, to some extent at
least, upon the capacity of the film on the plates
which he is using to absorb liquid, and different
makes differ in this extent. If he finds that he
cannot get the density he requires, no matter how
long, within reason, he allows the alkali to act, it
is an indication that the pyro solution must be
stronger ; while if he finds that the results are no
different from what ordinary development would
give, he may safely conclude that the pyro solu-
tion which he is using is too strong. One or two
trials will soon show what strength is about right.
There is no need for any very great precision in
the proportions, as the operation is watched and
terminated when it is seen that the action has
gone far enough.

It may be added that this method of develop-
ment is a very economical one. The pyro solu-
tion can be used over and over again, as long as
enough of it remains to cover the plate; but in its
diluted form it is best not to keep it over from one
day to the next, as oxidation is sure to take place
and there will be a risk of staining, even if the
pyro has kept its energy, which does not always
happen. A fresh alkali solution will be required
for each plate. — Photography.

Photography on Fabrics in Place of Paper

Paper is not the only material upon which
photographs can be printed, although the great
majority of photographers never use anything
else. Textile fabrics can be sensitized by most of
the preparations which are used for paper, and,
within certain limits, the processes are the same.
The particular material chosen will depend upon
the kind of result required, but silk, nainsook,
sateen, cambric, and canvas have each been
utilized.

At one time several kinds of sensitized fabric
could be bought ready prepared for use. Canvas
coated with a bromide emulsion was made, which
was suitable for contact printing as well as for
enlarging. Silk was supplied sensitized both with
a kind of p.o.p. emulsion and for platinum print-
ing, and sensitive linen was also made. As far
as the writer can learn, all these productions have
long since ceased to be supplied. A year or two
before the war he made enquiries for a sensitive
textile material, but was told, in reply, that the
demand had been so small that its manufacture
was discontinued. In case there are workers who
would like to try their hands at such a process, a
few notes are here given, supplementing the
article to which reference has already been made.

Before sensitizing a fabric, indeed before get-
ting a fabric to sensitize, one must have a clear
idea as to the purpose of the work, because this
will influence the choice of material. Canvas is
not very satisfactory in the hands of the amateur.
Its coarse grain and porous open nature cause it
to swallow up the comparatively expensive silver
solution, and to give an image both rough and
buried in appearance. Possibly the best way of
getting a photograph with a canvas surface
would be to stretch the canvas, well size it, and
then transfer to it the image from a piece of

transferotype paper, or else to develop a carbon
print upon it. A very fair canvas surface is got
by mounting a bromide print on thin paper on
stretched canvas. Prints on canvas and similar
materials are, presumably, made to frame, with
or without glass, on account of the texture which
it gives.

Other fabrics are chosen because the prints
made upon them can subsequently be worked up
into cushion covers, d'oyleys, and similar articles.
In such a case a smooth surface is required for all
but very large prints, say, whole-plate size or
over. These latter are very effective if a ribbed
silk is used for them (bengaline). The image
must not be carried in any vehicle of gelatin, or
the material will lose its suppleness: so that only
just enough of whatever sizing material is chosen
should be used to keep the image from sinking in.
It is possible to do without any size if the fabric
is very thin; but, in such a case, both the salting
and the sensitizing solutions, especially the latter,
should be strengthened, and the printing carried
to a fair depth.

One rule, never to be broken, is that whatever
material is chosen it should be well washed, rinsed
in clean, cold water, and dried before it is salted.
For printing, it is most convenient to use a piece
of card at least as large as the sensitized fabric,
and to attach the latter to it by a few stitches at
the edge. A mask so that the picture has a
broad white margin will help to give a good result.
There is no need to worry if the print looks dull
and crumpled when dry — as it is almost sure to
do — a gentle ironing will flatten it out and make
all smooth again. — -Photography.

Newsiness in a Picture. What Is It?

Before me as I write is a paper with a very
large circulation, in which appears the following
advertisement, inserted by a great newspaper:

Photographs Wanted
' ' We are in the market for good photo-
graphs of interesting news items. For these
the highest market prices will be paid if
accepted. We want pictures of human
interest — episodes, beautiful women, dis-
tinguished men, or events or incidents that
have a wide appeal — and we solicit these
from both amateur and professional pho-
tographers. Scenery or artificially posed
pictures of any kind are not desired:
pictures must record news."

Now that advertisement is very interesting in
that it explains what the newspaper means by
the word "news." All too many photographers
think that a news picture must necessarily be a
photograph of a fire, a procession, an accident,
or even of the scene of a tragedy.

One of the best definitions of what a newspaper
man really calls "news" is in a text-book for
newspaper men by the Professor of Journalism
in the University of Wisconsin. He says:
"Although every good newspaper worker recog-
nises news at once, and almost instinctively
decided its value. Most of them find it difficult
to express in brief form what news really is,
and what determines its value," and then he
proceeds to give the student the following quite

134

THE WORKROOM

useful definitions, all of which apply to the news
picture as forcibly as to news reading matter:
" News is what people want to know about. News
is anything people will talk about, and the more
interest and excitement it creates the better
news it is. News is the essential facts concerning
any happening, event, or idea that possesses
human interest. News is based on people, and
it is to be gauged entirely by how it interests
other people. The best news is that which
interests the most readers. "

The essentials of "news," it will be seen, as
brought out by these definitions are: (a) that
it must be of. interest to the readers; (b) that it
should be fresh, current, or timely; (c) that it
should preferably possess the quality of "human
interest."

A good composite definition of what makes a
press photograph of news value, then, would be —
that it records anything that interests a great
number of people. The best news picture is
the one which possesses the greatest interest
for the greatest number.

It is not influence that is required to sell a
news photograph, but the fact that it is the right
thing. As Julian Ralph has written, "Provided
you have the news microbe in your blood, the
next thing is to do something for a newspaper.
The press is not a charmed circle nor a secret
fraternity. It is wide open and all-devouring.
If I were stranded in a city and needed money,
I would walk the streets until I saw something
novel or peculiar to the place; and that I should
describe as I saw it. I should not look for news.
No one looks for news any more. That is an
old-fashioned idea which outsiders persist in
retaining. News of the ordinary kind is now
gathered systematically by men stationed at all
the outlets of it, like guards at the gate of a
walled city, by whom nothing can pass in or out
unnoticed."

This is very true also of picture-news: the
press agencies and newspapers all have their own
staff men at work on the news which may be
called ordinary, everyday, current, or timely
news.

In conclusion, let me point out a good way
to develop the news instinct. Let the photog-
rapher when out with the camera regard himself
as a newspaper man who has got to send in a good
news picture that day. It is surprising how
many really interesting subjects one may then
take note of, all in a single afternoon.

But for goodness' sake never let news seeking
spoil our hobby as a hobby. That, I think, is
the one trace of bad in the popular desire among
amateur photographers to make pictures that
sell. Once we begin asking ourselves about
every possible picture, "Will it sell?" we start
to spoil our hobby; it will no longer be what is
should— the most interesting and intellectual
spare-time occupation ever evolved. — Photog-
raphy.

Notes on Lantern Slides

Dextrin makes the best adhesive for attaching
binding strips to slides. A thick paste made by
mixing it with boiling water is all that is required
if the strips are not gummed. If they are gum-

med, the dextrin may be a little thinner and used
in place of water to moisten the gum.

Although many amateurs cut their binding
strips into lengths of 3J inches, and bind each
edge separately, the quickest and best way, and
that followed professionally, is to use one long
strip, binding all four edges at once. A small
pair of scissors can be used to take triangular
notches out of the strip at the corners, and thus
prevent any extra thickness there.

If the enlarging lantern has extension enough,
or can be fitted with a short-focus lens, it makes
an excellent arrangement for slide making. The
negative can be reproduced on the slide same
size, reduced, or enlarged; and the exposures,
with a condenser, make warm-toned slides on
slow plates quite practical.

Thin silk tape is the best material for binding
lantern slides that are to see much wear.

Where the finest definition is required in a
lantern slide there can be no question but that
it is obtained, not by contact but by the use of a
lens. Glass is seldom flat, and almost all coated
glass is curved so that the coated side is concave,
and good contact between lantern plate and
negative is thus unlikely to be obtained unless
with a good deal of pressure.

A good method of classifying lantern slides is
to use a paper of a different color for binding the
slides in each set.

Many lantern slides can be wonderfully
improved in the making by a little judicious
local reduction. On taking the slide from the
fixing bath, it should be put under the tap for a
few minutes, and the work may then be done by
applying ferricyanide and hypo with a brush or
swab of cotton-wool. It is best to use the reducer
fairly weak, and to rely on several applications,
rinsing the slide between each, as it is easy in
this way to work without making any hard
dividing line between reduced and unreduced
parts.

A title slide furnishes an effective opening
to a lecture, and is easily provided. One way of
making it is to select some subject appropriate
to the lecture, but which is not actually required
for illustrative purposes. It should have a
blank area, the sky for choice, and may have
lettering for the title put into this blank area by
making a separate (reversed) slide of the lettering
and binding up the two together.

If a set has all the slides composing it arranged
in due order and the right way up, and then
holding them together as a solid square block,
two lines — a thick and a thin one — are ruled
diagonally from corner to corner along one side
of the block, it will be easy at any subsequent
time to tell at a glance whether the set is com-
plete, and whether they are all rightly placed
and in order. If they are, the two lines will run
unbroken from end to end. White ink may be
used for the purpose, if the ordinary black paper
has been employed for the binding. — Photography.

THE WORKROOM

135

The Use of Chiffon in Enlarging

The purpose of this article is to explain a
method of control in enlarging which will enable
our readers to very considerably improve the
quality of their work. Straightforward enlarge-
ments from negatives of critical sharpness are
apt to have a crude appearance which renders
them disappointing. To avoid this it is some-
times recommended to throw the image on the
easel out of focus; but a more satisfactory
method is to use black chiffon in front of the
lens. The fabric should be of the finest and
closest possible texture, and it is convenient to
have the chiffon mounted in small cardboard
frames, in thicknesses of one up to four. Fine
chiffon is not the easiest of things for masculine
fingers to handle; but if a three-inch square
hole is cut in the centre of a piece of cardboard,
the chiffon can be attached along the top and
down one side with a little gum, drawn taut over
the opening, and similarly fixed on the bottom
and the other side. When dry, another thickness
may be applied in the same manner. It is well
to paste down a piece of card, with a similar
opening, for protection, and diffusers made in
this manner will stand continuous usage for a
long period. The image having been focussed
sharply on the easel, the diffuser is laid up against
the front of the lens, and the exposure made.

It is the writer's experience that once a worker
has been put in the way of using such diffusing
screens, their employment is invariable. In the
case of portraits, roughnesses of skin texture
are smoothed as effectively and more naturally
than by the retouching pencil, while landscapes
have their beauty and atmosphere greatly
enhanced. The choice of diffuser may be left to
individual taste: for portraits with a two to
three-inch head, a one- or two-ply screen will
probably be preferred, while for landscapes a
three- or fourfold one may be used. A cardinal
advantage of this method of diffusion is that, no
matter how strong the negative, there will be
no patches of pure black or pure white, and,
although the outlines are not thrown out of
focus, they assume a softness which, in the case
of extreme diffusion, say with six folds of chiffon,
approaches to what one might call "dreaminess. "

As regards the effect on exposure, the par-
ticular quality of chiffon used by the writer is
found to increase it by one-half to each thickness
used, thus: — one, half more; two, double; three,
one and a half times, and so on. — Amateur
Photographer.

Fog— and How to Deal With It

When a professional gets a fogged negative he
can generally recognize the nature of the fog and
put his finger on the cause. The young assistant,
however, is apt to assume that all fog is caused by
the action of light on the plate before or during
development. He learns later, with surprise,
that there are other kinds of fog which may occur
even when the plate is handled in a perfectly safe
light. He finds out that, besides ordinary light
fog, there are atmospheric fog, chemical fog,
and the peculiar form of chemical fog known as
dichroic fog.

Atmospheric fog, as its name implies, is actually

present in the atmosphere, but it is often visible
to the photographic plate when it is invisible to
the eye. This happens whenever the moisture or
dust in the air reflects ultra-violet and violet rays,
instead of the rays belonging to other parts of the
spectrum. And so it happens that a landscape,
which the photographer thinks is free from all
fog, may really be bathed in a thick invisible
ultra-violet mist which is faithfully recorded on
the plate. Distant mountains can often be
plainly seen when it is impossible to photograph
them on an ordinary plate without a light filter.
The whole difficulty is very simply solved by the
use of panchromatic plates and the appropriate
light filter.

Chemical fog is of an entirely different nature.
It is due to uncontrolled chemical action during
development. The whole process of develop-
ment is based upon the principle that the de-
veloper will reduce to metallic silver those
particles of silver salt upon which the light has
fallen; whereas the particles upon which the light
has not fallen will remain unaffected by the de-
veloper. If a very strong developer is used, how-
ever, there is a danger that it will reduce the
particles of silver salt, whether the light has fallen
on them or not; and the metallic silver which is
thus deposited evenly all over the plate is known
as chemical fog.

It is sometimes said that chemical fog is due as
much to the instability of the silver salts in the
emulsion as it is to the strength of the developer.
The emulsion of a modern dry plate, however, is
seldom at fault — but the developer which suits
one emulsion is not always suited to another.
The wise professional sticks to the formula recom-
mended by the makers of the plates which he
uses. Even when he does so, he may get chemical
fog if the developer is too warm, or if he forces
development in any other way. Some plates will
stand more heat than others without fogging;
but it is a safe rule never to use a developer below
65° or above 70° F.

The established method of guarding against
chemical fog is to add potassium bromide to the
developing solution. It has been suggested that
the bromide combines with the silver salts in the
emulsion to form a double, compound of silver,
which does not respond so readily to the action of
the developer; and that there is, accordingly, less
risk of the developer reducing any particles of the
silver salts upon which no light has fallen. This
is only one theory out of many. Few subjects in
photographic chemistry have aroused such fierce
controversy as the part played by bromide in the
developer.' Mr. H. W. Bennett, F.R.P.S., goes
so far as to say that without bromide fogging is
inevitable and that absolutely nothing is gained
by its omission. On the other hand, Mr. Alfred
Watkins, F.R.P.S., states that bromide is a legacy
from the days of pyro-ammonia and that its
use introduces complications and variations with-
out sufficient compensation.

Whichever view is right, the fact remains that
potassium bromide, in small quantities, is an
efficient protection against chemical fog; and, in
larger quantities, is an efficient means of adding
to the contrast and brilliance of the negative. For
these very reasons many professionals, when aim-
ing at soft portrait negatives, prefer to omit the

136

THE WORKROOM

bromide from the developer altogether and avoid
chemical fog by using a dilute solution.

The most curious fog of all is a peculiar form of
chemical fog known popularly as green fog and
scientifically as dichroic fog. It is found on
negatives in the form of a stain, which is yellowish
green by reflected light and reddish pink by trans-
mitted light. This characteristic explains its
scientific name — for dichroic fog means literally
"the two-colored fog."

Its nature and its cause are not so easily ex-
plained. The general view is that dichroic fog is
found only when some ingredient of the developer
has the power of dissolving the silver salts in the
emulsion. Silver bromide, silver chloride and
silver iodide are all practically insoluble in water
— but they are all easily soluble in ammonia or
ordinary hypo, and are slightly soluble in sodium
sulphite. And so this peculiar trouble was very
common in the old days when nearly all plates
were developed with pyro-ammonia ; and it is still
apt to occur when the developing solution con-
tains hypo or an excess of sodium sulphite.

When the developer contains none of these
solvents, the silver salts remain firmly embedded
in the gelatin emulsion; but when any of these
solvents are present, some particles of silver salt
are dissolved out of the emulsion. If the salts
react with the developing reagent while they are
in this state of solution or semi-solution, the
metallic silver is deposited on the surface of the
plate in an extremely fine colloidal state. This
deposit is what is known as dichroic fog. It is
naturally heaviest in the shadows where there has
been the least light action, because it is in these
parts that the particles of unreduced silver salt are
the most numerous.

The chief characteristic of dichroic fog is that it
is entirely superficial, as distinct from chemical
fog which is a deposit in the body of the gelatin
emulsion. Indeed, dichroic fog may often be
removed by simple friction, or by mechanical
reduction, as it is called. Generally speaking, it
is difficult to get rid of it. Sir William Abney,
F.R.P.S. suggested bleaching the negative in a
mixture of ferric chloride and potassium bromide
and then washing it well and re-developing it with
ferrous-oxalate. This method, however, does not
really get rid of the fog: it only converts the green
stain into a general gray fog which is not so visible.
Probably the most effective treatment for di-
chroic fog is to put the negative through the fol-
lowing bath:

Sodium sulphite
Potassium cyanide
Distilled water .

1 oz.

100 gr.

20 oz.

Troublesome as these three varieties of fog
undoubtedly are, ordinary light fog causes still
more trouble because it is so common. It is
sometimes due to dark slides and dark rooms
which are not light tight ; but it is still more often
due to the use of unsafe dark-room lamps.

Fortunately photographers are now recognizing
more and more that they cannot rely on ordinary
red, yellow or orange glass or paper to intercept
the actinic rays. Many of the dark-room lamps
which used to be sold gave barely enough light to
make the darkness visible, and yet they trans-
mitted such a large proportion of violet and blue

rays that any plate of moderate speed was almost
certain to be fogged. These two improvements
being based upon scientific principles have prac-
tically eliminated light fog from professional dark
rooms. — Professional Photographer.

A Rapid Fixing Bath

In a recent number of the Photo-Revue a French
worker gives the following formula for preparing
a stock bath allowing of the fixation of negatives
and prints being done in the minimum of time:

Hypo, anhydrous (or, soda

sulphite, crystals, 200 gm.) 100 gm.

Ammonium chloride ... 70 gm.

Potass, metabisulphite . . 10 gm.

Negatives are placed in a mixture of this stock
bath 1 part, in water 4 parts. Papers are placed
in a mixture, stock bath 1 part, water 9 parts, in
which they are allowed to remain for from eight to
ten minutes. The formula is recommended not
only on account of its active and rapid fixing
properties, but is said also to yield by-products
of fixation which are more readily and rapidly
removed by washing.

Overworking the Developer

Professionals need reminding, in these days
of economy, that they cannot keep down expenses
by overworking their developers in bromide
printing.

When a developer becomes too weak to do its
work properly it should be discarded; otherwise
washy, flat prints of unsatisfactory color are
certain to be produced.

A certain quantity of developer will only
develop satisfactorily a certain number of prints.
Professionals who work on a large scale are apt to
forget this. They use a fairly large quantity of
solution, and work it as long as it will develop at
all. The result is that a large number of their
prints do not show the beautiful grays and black
which their paper is capable of giving.

It is very tempting when things are going
along smoothly to let them run as long as possible;
but this feeling must not be allowed to carry you
too far. — Professional Photographer.

Handling Undeveloped Plates

Many operators have a habit of taking exposed
plates out of the slides and putting them in a
plate box until they are ready to develop. There
is nothing wrong with the idea, but the way the
plates are laid in the box makes a great difference.
The first plate should always be placed in the
box, glass side down. This prevents the emul-
sion side from coming in contact with any chem-
ical dust or moisture that may have been taken
up by the pulp board of which the box is made.

When you lay the first plate in the box glass
side down, and the second plate glass side up,
with nothing between the two, you bring the
emulsion sides of the two plates together, and
they will be perfectly safe until you are ready to
develop them.

Traces of perspiration and chemical impurities
are transferred from the fingers to the backs
of plates during handling. These marks from

THE WORKROOM

137

handling will do no harm if the emulsion sides of
the plates are always packed together. But if
the first plate is laid into a box emulsion side up,
and the next plate the same way, the emulsion
side of the first plate comes in contact with the
finger marks on the glass side of the second plate
and these marks are offset on the emulsion.
When the plate is developed, the marks some-
times show as distinct finger prints and some-
times only as irregular opaque blotches. Bare
hands never come in contact with either the
glass or the emulsion side of a plate in manu-
facture or packing. The plate makers and
packers wear clean gloves and they handle plates
entirely by the edges. Plates are always packed
in the boxes face to face and back to back.

Handle them the same way in your dark-room
and you will not have any of your negatives ruined
by finger marks. — Photo Digest.

The Height of the Camera

It is not sufficiently realized by some operators
how much the height of the camera influences the
expression and character of a portrait. When a
sitter has been placed in the best position, and
the lighting arranged to suit the particular type
of face, there are still many modifications which
can be made by tilting the camera upward or
downward. These changes in the position of
the camera alter the perspective of the lines of
the face and body, and make a difference in the
general appearance of the portrait.

Pose a sitter with his head quite level and his
eyes fixed on something the same height as the
camera. Now lower the camera and tilt it up-
ward, and you will see that, although the sitter
has not altered his position, the head appears
thrown back and the eyes turned upward. Then
raise the camera and tilt it downward, and you
will see that the head appears bent forward, the
forehead broader and the face more pointed
toward the chin.

When you take a head-and-shoulders portrait
of a small man with a large bald head, do not have
the camera too high — unless you want to empha-
size the fact that his head is out of proportion to
his body and that his hair has disappeared. On
the other hand, when you photograph a stout
full-faced man with a receding forehead, do not
have the camera too low — unless you want him
to look more like one of our savage ancestors
than a man of today.

Then again, in taking full or three-quarter
length figures, you can make a sitter look shorter
or taller by raising or lowering the camera. A
high point of view will fore-shorten a figure and
give a squattiness to the portrait. This should
never be done unless a sitter is abnormally tall
and thin. A low point of view will make a sitter
look taller. It is extremely useful to remember
this when you make portraits of sitters who are
below the average height. As a rule, sitters are
very sensitive on matters relating to their stature ;
so much so that very often proofs are accepted or
rejected simply because they please, or fail to
please, on this particular point.

When children playing on the floor are photo-
graphed from a high point of view the charm of
the picture is often destroyed by the foreshorten-

ing of the figures. To avoid this the children can
be placed upon a platform. But very few pro-
fessional photographers nowadays will tolerate
a cumbersome platform in their studios. The
alternative method is to use a studio stand such
as the Century Semi-Centennial, which allows
the camera to be lowered to within fifteen inches
of the floor.

These points in the manipulation of the camera
become second nature to the careful operator who
has made a close study of perspective and who
applies this knowledge to his daily work. — Photo
Digest.

Random Notes

When clouds are imitated in working up the
background of a sketch portrait, care should be
taken to light them from the same direction as
the portrait. The beginner is apt to work in an
aimless fashion. He is too often content with
cloud-like forms without noticing whether they
help to balance the picture and produce a har-
monious whole.

A muddy, lifeless bromide print can be con-
siderably improved by one application of the
chromium intensifier. This treatment adds to
the depth of the print and turns the color into a
fine rich black. The solution is made by dissolv-
ing 100 grains of potassium bichromate in 10
ounces of water, and then adding 3| drams of
hydrochloric acid. After bleaching the print
should be washed for five minutes, exposed to
daylight, or strong artificial light, and re-
developed with Dolmi.

When matte prints have to be copied, they
should first be thoroughly wetted and then
squeegeed on to a sheet of clean glass. This
helps to show up the detail in the shadows, and
gives the prints the familiar rich appearance they
have before they are dried. There is no danger
of the prints sticking to the glass if they are not
allowed to dry while in contact.

A good method of hardening a negative film,
so that it will withstand the wear and tear of a
long run of prints, is to soak it in a bath made
of alum, 4 ounces; tannic acid, 120 grains; water,
32 ounces. The negative should not be left in
this solution for longer than four minutes; other-
wise, it may become so hard that the film will
crack and split at the edges. The solution will
keep and can be used repeatedly.

Magnesium ribbon is a good friend to the pro-
fessional, especially during the winter months.
It is very helpful in lighting up dark corners of
interiors which otherwise might need hours of
exposure to pick up the detail. It is helpful, too,
in copying. About four inches of ribbon, burnt
at two feet from the print, will give ample ex-
posure for copying a cabinet, same size, with the
lens at //8. Care should be taken to keep the
light outside the field of the lens during the
exposure.

Plain magnesium powder differs very little
from magnesium ribbon. The powder, of course

138

THE WORKROOM

burns more rapidly and gives a more intense light.
Where large volumes of light are needed, it is
more convenient to handle than ribbon. Mag-
nesium powder is simple and safe to use, but the
flash is followed by considerable smoke, and an
exposure of one-tenth of a second is about the
shortest that can be given.

Magnesium powder is usually burnt in a flash-
lamp by blowing it through the flame. The air
pressure is generally supplied by the familiar
rubber bulb and tubing. The important fact to
remember about all lamps intended for use with
plain magnesium powder is that they must never
be used with compound powders or flashlight
mixtures. The reason for this is plain. Mag-
nesium lamps provide for the storage of a quan-
tity of powder near a flame. There is no danger
in this because magnesium powder will not ignite
very readily and must be blown through the
flame before it will flash. Flashlight compounds,
on the other hand, are all more or less explosive
and must not be brought near a flame or any
form of heat until the actual moment of making
the flash. Flashlight compounds burn very
rapidly, so rapidly, in fact, that the exposure is
practically instantaneous.

Sodium sulphite crystals can be dissolved very
easily, if warm, not hot, water is used. The best
way is to put the crystals in a muslin bag and
suspend it in the water. The sulphite solution
falls down as the crystals dissolve, and the re-
mainder is constantly in contact with compara-
tively fresh water. — Professional Photographer.

Copies of any patent can be obtained from the
Commissioner of Patents, Washington, D. C.
Price, five cents each.

Camera. F. J. Wende. 1209239.

Camera Attachment. D. Palmer. 1209015.

Stereoscopic Cinematograph. J. Richards &

L. J. E. Colardean. 1209498
Recording Colors. W. B. Featherstone.

1209420.
Photographic Device. H. D. Farquhar.

1029419.
Printing Machine. A. Sletten. 1209631.
Color Photography. P. D. Brewster. 1208739.
Color Photography. I. Kitsee. 1209453.
M. P. Device. A. D. Brixey. 1208740.
M. P. Apparatus. N. Power. 1209492.
M. P. Apparatus. N. Power. 1209493.
M. P. Shutter. J. J. Hughes. 1209584.
Focussing Device. W. A. Riddell. 1210534.
Camera Support. A. Plofehan & J. Zinan.

1211347.
Camera Device. R. G. A. Dutert. 1211312.
Camera Device. P. W. Howland. 1210804.

View Finder. S. Brown. 1210896.
Cinematograph. L. McCormick. 1210961.
Cinematograph. L. McCormick. 1210200.
Cinematograph Apparatus. L. McCormick.

1210960.
Projection Lamp. J. M. Naul. 1210676.
Flash Light. W. B. Poynter. 1210834.
M. P. Apparatus. G. Bettini. 1210887.
M. P. Apparatus. F. W. Matthews. 1210665.
M. P. Apparatus. J. T. Wells. 1210743.
M. P. Apparatus. A. F. Copersito. 1210909.
M. P. Apparatus. J. T. Wells. 1210744.
X-ray Tube. W. D. Coolidge. 1211092.
Camera. H. R. Darling. 1211683.
Camera Device. E. E. Bjorling. 1211664.
M. P. Film Apparatus. W. Frank. 1211429.
Photograph Holder. A. S. Spiegel. 1211497.
Film Cartridge. H. Gindele. 1212137.
Photographic Device. A.C.Stewart. 1211780.
Printing Machine. W. W. Wonner & C. W.

Simon. 1211993.
Color Photography. M. J. Wohl & M. Mayer.

1211904.
Printing Machine. G. Croston. 1212022.
M. P. Apparatus. W. E. Millar. 1211955.
Camera. C. Bornmann. 1213067.
Camera. H. J. Ide. 1212355.
Camera Device. H. J. Brown. 1212447.
Cinematograph Device. A. Boularan dit Deval.

1212446.
Cinematograph Lens. A. F. Victor. 1212853.
Developing Device. L. W. Kelsay. 1212498.
Film Winder. W. E. Eggleston & L. L.

Chauncey. 1212750
Dark Room Lantern. R. John. 1212228.
Shutter Device. S. Nagy. 1212383.
Printing Apparatus. J.E.Thornton. 1213057.
Picture Screen. W. L. Tillotson. 1212424.
M. P. Film Manufacture. J. E. Thornton.

1213038.
M. P. Apparatus. E. D. George. 1212342.
Printing Machine. J. A. Ramsey. 1212259.
Camera. C. Bornmann. 1213731.
Camera Carriage. W. A. Riddell. 1213544.
Camera Device. G. Pelham. 1213687.
Apparatus for Colored M. P. L. Gaumont.

1213184.
Film Holder. W. I. Schultz, Sr. 1213694.
Kinetoscope Shutter. T. H. Blair. 1213147.
Developing Apparatus. F. A. Binder. 1213489.
Film. F. W. Lovejoy. 1213514.
Photography. A Herz. 1213485.
M. P. Apparatus. H. S. Bullis. 1213150.
Camera. A Dawson. 1214147.
Focussing Device. J. Goddard & W. S.

Hutchings. 1214453.
Phonograph & Kinetograph. I. Kitsee.

1213883.
Photograph Case. G. E. McCormack. 1214477.
Film Support. C. E. Barr & W. R. Miller.

1214408.
Photographic Paper. A. C. McCloskey.

1213925.
Shutter. A. Wollensak. 1214250.
M. P. Projector. F. C. Hamilton. 1214301.
M. P. Device. H. L. Miller. 1214208.
Projection Apparatus. J. B. Taylor. 1213974.
Projection Apparatus. J. B. Taylor. 1213975.
X-ray Tube System. G. R. Hogan & H. P.

MacLagan. 1213872.

NEW SERIES 4 WILSONS PHOTOGRAPHIC MAGAZINE

5 CENTS A COPY

$1'50 A YEAR

in ii in H' ii «n

THE PHOTOGRAPHIC
JOURNAL OF AMERICA

VOLUME LIV

APRIL, 1917

NUMBER 4

f* e^f^F^f^D

EDWARD L' WILSON COMPANY' INC'
122 E ' TWENTY-FIFTH ST - NEW YORK

W ffl ffl w w w w w w w w W W W w

HAS THE QUALITY CIRCULATION
OF THE PROFESSION

TRF OT DRST PROTOHR A PRTr. MAP.A 7TXTP TNT A TUT7P T^

In 1909 it was stated of

Cyko Paper

"Each grade of Cyko has more latitude,
plasticity, chromatic rendition and proper
scale of gradation than any other paper.
Its scope is unlimited"

and yet its scope has been enlarged
every year since, so that ill 1917 it
has taken the place of all former printing
processes, because it has the brilliancy
of platinum, and delicacy of carbon —
and in the Enlarging grades all of the
above mentioned qualities with speed
almost equal to Bromide paper.

CYKO is the single and universal expression
of photography today

Ansco Company

Binghamton, N. Y.

LIBERTY

EVENING IN NEW YORK HARBOR
Br COURTESY THE

PHOTOGRAPHIC BUREAU OF THE
NEW YORK EDISON CO.

PHOTOGRAPHIC
• JOURNAL-
S''AMERICA •

VOLUME LIV

APRIL, 1917

NUMBER 4

A WATER THERMOSTAT FOR MAINTAINING

PHOTOGRAPHIC DEVELOPING SOLUTIONS

AT CONSTANT TEMPERATURE1

By ALFRED B. HITCHINS, Ph.D., F.R.P.S.,

AND

F. B. GILBERT

IN the determination of the speed and
character of photographic emulsions,
by the Hurter and Driffield system,
it is customary to expose two strips of
the plate to be tested and then develop
them for times T1 and T2. That is to
say, one is developed twice as long as
the other. The developing action must
be even, with a minimum of fog, and
above all things should be conducted at a
known temperature that can be accu-
rately controlled. It is important that
the temperature of the developing solu-
tion should be the same day by day in
order that tests can be made under
strictly comparative conditions.

Communication from the Ansco Co.'s Re-
search Laboratory.

It is, of course, possible to maintain
the temperature of developing solutions
with reasonable accuracy by means of a
large water-bath, the dishes containing
the developing solutions being built in so
that they are surrounded by the water in
the bath. This method is, however, too
cumbersome for scientific work. Any
form of dish development means more or
less handling of the strips, and consider-
able inconvenience may be experienced
in the dim light of the dark-room in get-
ting hold of the strips quickly when their
times of development are up. Actual
handling of the strips at any stage should
be done away with as much as possible.

When T1 and T2 curves have been
plotted they furnish figures which are
used as the basis for calculating two

(139)

140 WATER THERMOSTAT FOR MAINTAINING TEMPERATURE

of the most important characteristics of
photographic emulsions, namely: gamma
(the contrast) and K (the velocity con-
stant). If we are to place any reliance
upon these calculations, we must be
assured that development has taken
place at a constant and uniform tempera-
ture, and in order to insure our tests
being developed at all times under
strictly comparative conditions we must
be able to duplicate and maintain the
chosen temperature day by day.

It is for this purpose that we have
designed a special form of thermostat for
the development of the H & D plate
strips. The instrument used is a modi-
fication of the Freas water thermostat.
This instrument is very reliable and will
maintain a large body of water at con-
stant temperature day in and day out
without attention. The instrument can be
set for any desired temperature between
15° to 50° C, and when once adjusted
will not vary 5^0 of a degree plus or
minus.

fig. 1

Fig. 1 shows a complete view of the
thermostat with the developing machin-
ery mounted on it. There is a large tank,
having a capacity of 340 litres of water,
with inside measurements 28 x 28 x 30

inches deep, equipped with a stirring
device and a mercury regulator which
controls the electric heaters through a
thermal relay. The regulator and heat-
ers are shown in Fig. 2 ; hot-point electric
heaters are used as the source of heat.

There are five electric circuits pro-
vided, and all can be used where high
temperatures are desired; but in photo-
graphic work, where a low temperature
is used, only two circuits are utilized in
heating the water — the primary and the
secondary heater — the other circuits
being used for the dark-room lamp over
the instrument and the motor for rotat-
ing the agitating mechanism. The prim-
ary heater is always dependent on the
thermal relay contactors, as determined
by the mercury of the control tube. The
secondary heater, if on the first switch,
is furnishing heat continuously; if on
the second switch, it is also operated by
the mercury control and furnishes inter-
mittent heat; if operating on the third
switch, the secondary heater is in series
with the room temperature control con-
tactor and the mercury relay contactor;
thus, if the room grows cold, this heat
will be added to the intermittent heat of
the primary heater.

There are also devices provided for
maintaining the water at constant level
and for cooling the water in the tank
when the room temperature is too great.
The tank is thoroughly insulated to avoid
effects of sudden changes of room tem-
perature. The water in the tank is kept
from stagnation by a small continuous
inflow of water. A small cock over a

WATER THERMOSTAT FOR MAINTAINING TEMPERATURE 141

sponge-filter is provided. This is left
open so as to give a drop or two of water
per second.

Naturally such a large volume as 340
litres of water furnishes a great thermal
capacity. Hence changes in the room
temperature affect the bath so slowly
that the thermal mechanism has ample
time to act in order to prevent variation
in the constant temperature desired. The
water is kept thoroughly agitated by a
continuous-running motor operating on
a propeller shaft. The motor is on a
separate stand and is slung on adjustable
springs, thus there is no vibratory noise
or vibration to cause false "makes and
breaks" of the electrical contacts. The
thermal relay works noiselessly, while all
magnetic relays continuously chatter.
The mercury control tube holds about
sixteen pounds of mercury; this large
quantity produces extreme sensitiveness.
When the temperature of the water rises
above that for which the regulator is set,
the mercury of the control tube makes
electrical contact with a nickel needle
point; the current passes through the

FIG. 3

thermal relay and breaks the heating
circuit without sparking. The thermal
relay is operated by the heating current
used, so that batteries, which are always
a source of trouble for continuous duty,
are not required. The great advantage

of the thermal relay is that it never
sticks, which all magnetic relays will do
sooner or later, thereby spoiling experi-
mental work.

Fig. 3 shows in detail the control
boards. The larger panel takes care of
variation in the temperature of the
hydrant supply; the smaller panel com-
pensates for changes in the room temper-
ature. The relay contactors and also
the room contactors are bridged by
condensers to prevent arcing, and the
thermal relay, because of the absence of
an induced current, gives only a very
small kick spark at the break at the
mercury surface. If the room greatly
exceeds the temperature it is desired
to maintain in the tank, water coils in
the bottom of the bath can be opened
and cold water circulated through them.
Enough water is passed through to hold
the temperature slightly below that de-
sired, allowing the heaters to bring the
bath back to the accurate temperature
required.

It was only after a great deal of ex-
perimenting and building of different
devices that we succeeded in designing
an apparatus which would with satis-
faction mechanically develop the strips.
The rate and method of bringing the
developing solution in contact with the
plates are factors which will cause de-
cided variation in the results obtained.

In connection with the various methods
of mechanically agitating developing so-
lutions, there are several points to be
considered. The most important are: —

1. Even development, i. e., the de-

veloped strips must be free from
development markings due to
uneven action of the solution.

2. The method must not induce fog.

3. It must be possible to remove one

or more plates quickly from the
developer without handling with
the fingers.

4. The results obtained must be

uniform.
, There are two possible ways of keeping
developing solutions in motion over the
surface of the plate. One is to move the
plate, and the other to move the de-
veloper. The first method can be applied
successfully by revolving the plate
around its longitudinal axis, and (provid-

142 WATER THERMOSTAT FOR MAINTAINING TEMPERATURE

ing the plate is rotated in a narrow cup
but little larger in diameter than the
width of the strip) very even develop-
ment is obtained, but this method pre-
cludes the possibility of developing at
the most more than two strips in one
cup; and in a large laboratory devoted
to testing the character .of photographic
emulsions it is frequently desirable to
develop at least six or eight strips at the
same time. We found that revolving
the strips in a large bath of developer,
such as would accommodate the number
mentioned, invariably produced develop-
ment markings, especially on short de-
velopment. These markings generally
took the form of a symmetrical design,
usually an S-shaped or 8-shaped figure,
and would appear regardless of the speed
of rotation. Speeds varying from ten to
sixty revolutions per minute were tried.
Furthermore, it was found that in many
cases one side of the strip showed a
higher fog than the other.

The next scheme was to cause the
strips to travel around the circumfer-
ence of the bath, facing the direction
of motion. Uniform and even develop-
ment were acquired by this method, but
the pressure of the developer on the faces
of the strips produced excessive fog.
This system is subject to the same ob-
jections as all methods where the plate
itself is moved. There is always more
or less difficulty in removing the strips
when the time of development is up,
unless the mechanism is stopped or at
least made to move more slowly.

These methods having proved unsuc-
cessful, it was decided to abandon the
plan of moving the strips and take the
alternative of agitating the developer.
From previous failures we had learned
that in bringing fresh developer in con-
tact with the plate, it must be done in
an even, gentle manner. There must
be no streams flowing against the plates
with a greater pressure than the rest of
the developing solution, or markings of
greater density are produced locally;
furthermore, the agitation as a whole
must not be too powerful, however uni-
form it may be, or high fog results. With
these points in mind the developing
mechanism to be described was designed.

Fig. 4 shows a close view of the mech-

anism. It consists of two concentric
cylinders, the smaller being about two
inches in diameter, and the larger four
inches. The inner cylinder contains the
agitating mechanism, which is merely
three multiblade propellers fitting closely
to the walls of the cylinder, and situated
one near the bottom, one at the middle,
and the other near the top of the cylinder.

When these propellers are in motion they
pull a steady stream of developer from
the bottom of the developing cup up
through the inner cylinder and discharge
it over the top, at the same time giving
it a gentle swirl as it goes over, thus
affording a very thorough mixing of the
oxidized with the fresh developer and pro-
ducing a constant and even circulation
of the solution, which is uniform in its
action on the whole inner surface of the
outer cylinder on which the strips are
hung. The plate-strips are held in little
carriers, which fit into grooves arranged
around the inner periphery of the outer
cylinder. Grooves for eight strips are
provided, forming an octagon. The
holders have small handles, which pro-
ject up out of the developing cup, and by
which they may be seized, one or more at
a time, and removed from the developer

ENLARGEMENTS AS A SOURCE OF EXTRA PROFIT

143

and plunged into the hypo or stop bath
without any unnecessary handling. The
outer and inner cylinders are connected
together by struts at the top and bottom,
and the whole is suspended from two
guide-rods which slide through the frame-
work and serve to lift the cylinders out
of the developing cup for loading. The
propellers are on the central shaft and
also slide in and out of the cup. The
shaft is driven by the gearing shown, and
the number of revolutions per minute
can be varied to suit any conditions. The
developing cup which contains the de-
veloper is hung through the hole in the
bed-plate. All parts of the machine that
come in contact with the developer are
heavily nickel-plated. The back part
of the thermostat tank is used to store
bottles of stock solution, so that they
may always be at practically the right
temperature for use. The developing
cup, which is made of brass and heavily
nickeled, is also kept in the bath, to
ensure it being maintained at the desired
temperature.

In practice the machine is used as
follows: The cylindrical framework
supporting the plate strip-holders is
withdrawn from the developing cup, the
necessary amount of developer drawn
from the bottles, mixed and diluted to

the working strength, and poured into the
cup. The agitating mechanism is then
dropped in and set in motion. This is
allowed to continue for a little while
to bring about an adjustment to the
developing temperature of all the parts
of the apparatus. White lights are then
extinguished and the cylinders lifted
from the cup and quickly loaded with the
strips. Then, the time being noted, the
whole is slid down into the developer.
As the required development periods
elapse, the strips are withdrawn and
placed directly in the fixing-bath. The
usual fogs obtained on Ansco negative
emulsions of about 180 H & D are .050
and .090 with three minutes' and six
minutes' development respectively, using
pyro-soda developer without potassium
bromide. The same emulsions developed
in a dish with every care give fogs of
.072 and .116. Using standard emulsion,
specially coated upon parallel plane plate-
glass, we have been able to repeatedly
check the calculated gamma and veloc-
ity constant K, of an emulsion, and
subsequent measurements taken over
the entire surface of plate strips that
had been flashed, and then developed to
a uniform gray, prove that the method
adopted is almost ideal in its production
of evenly developed strips.

ENLARGEMENTS AS A SOURCE OF EXTRA

PROFIT

By L. G. COOVER

YOU want to make more money. I
will point the way — a tried and
proved way — but you'll have to
pedal yourself along, for there is no road
over which runs a free bus. You must
walk, and you must bend your back to
gather the shekels. Perhaps you need
to make more, but you'll never do it or be
able to do it unless you really want to
make more. If you have that determina-
tion, you can and you will, for I'm going
to propose how you can — a way, as I
said, which is tried and proved.

Make enlargements; don't wait for cus-
tomers to ask for them, as you have been
doing, but get busy and ask them to have
them made. How many have you made
in the last year? Perhaps twenty-five
at the outside. Well, you should have
made enlargements for two-thirds of your
sitters. Now, don't stop reading here,
thinking this is some preposterous dream
— it isn't; it is an exposition of a practical
studio system whereby two-thirds of your
sitters can be sold an enlargement where
none were sold before. I will merely

144

ENLARGEMENTS AS A SOURCE OF EXTRA PROFIT

point out your greatest oversight in your
past conduct of business.

As a basis of calculation, we will pre-
sume you do an average business of
seven hundred and fifty sittings yearly —
two-thirds of that would be five hundred
— so now we have the number of sitters
who would buy enlargements. You
could sell at least one 8 x 10. On that
your profit would be no less than fifty
cents; on your 11 x 14's and 14xl7's,
which are the three sizes I am pleading
for, you would turn an average of a
dollar.

Based on experience and thorough in-
quiry, it is safe to say, considering the
number of patrons who will order more
than one 8 x 10, and the number of larger
sizes, your profit per customer will run
some little better than seventy-five cents.
Em working with conservative figures,
too, so that at the end of the year you
will have in the neighborhood of $400
clear profit — velvet, as it were — and cer-
tainly you could use those few hundreds.
Well, get busy and get it, and more than
four hundred— all depending on your vol-
ume of business and your surplus energy.

It will cost you but very little to pre-
pare for the work — there are dozens of
inexpensive yet withal practical ways of
equipment; so I will not in this article
discuss the working end of it. My argu-
ment is simply for the selling possibilities
of enlargements and the extra profit in
sequence.

Prepare some samples, and I suggest
doing it in portfolio form. On one page
mount a contact cabinet print, on the
opposite page an 8 x 10 enlargement, a
few 10 x 12 to 11 x 14, or a panel 7 x 11—
some black, some sepia. Have a little
variety of papers, textures, etc. Use
some buff papers — artist-proof a few —
wax them when desirable. Frame a few.

Now, right here is a good place to
dispel a certain notion or prejudice you
may hold for enlargements — bromides.
You are probably right now confounding
the average bromide — generally a crude,
coarse, dirty, smudgy, obviously enlarged
bromidery bromide — with the possibil-
ities and beauties of a well-executed
enlargement, and so I want to bear on
this phase of the question for a paragraph
or two.

I'm free to admit that nine out of
ten bromides are a visual crime against
photographic standards, and I'll tell you
why. They are enlarged too much, far
too much, and generally by a more or
less incompetent worker so far as por-
traiture is concerned. If kept within a
certain limit of enlargement, and quality
for quality, there should be a gain, an
enhancement of effect. I make this as
an unqualified statement. I know of no
one who is delivering a more perfect print
in point of either technical or artistic
excellence than Frances B. Johnston, of
New York, and her chief selling argu-
ment is a comparison of a contact print
and a properly enlarged print, and
invariably the customer selects the
enlarged process print, for it has atmos-
phere. I could go on and name a dozen
Fifth Avenue photographers who are
enlarging from choice.

If you will hold your 5x7 negatives
within certain limits of enlargement you
need harbor no fear of the quality of your
work; to the contrary, you may antici-
pate many a little surprise over added
quality and little touches of charm to
many of your pet negatives when they
are run up in size.

If you can make a good Artura, or
Cyco print, if your standard of results
is for the best possible, you can make as
good a print by the throwing-up route as
any of the really good, though unfortu-
nately few, bromide enlargers.

The cost of production, so far as
material is concerned, is practically the
same as Artura or Cyco; in fact, some
magnificent result can be had by using
the papers mentioned, though they are
rather too slow to advise for every-day
use. Chemical manipulation is virtually
the same in bromide work as in the de-
veloping papers for contact work. True,
you cannot work quite as fast, yet you
can turn out a number sufficient to make
a big day's profit on your labor and
skill.

Your loss is slight if you use judgment;
but, by all means, when you see a chance
to noticeably improve a print by making
it over, do so. The better your prints
are today, the better will be your
patronage tomorrow.

I don't know why enlarging is such a

ENLARGEMENTS AS A SOURCE OF EXTRA PROFIT

145

bugaboo. Certainly nothing could be
more simple for anyone with a photo-
graphic knowledge to understand.

No one that I know of ever tried it and
failed — that is, if he had the ability to do
other things well. If you have ability,
you can do bromides; if you know re-
sults, quality results, you can obtain
them on the enlarging screen just as
readily as by printing in contact.

Again, I want to repeat the admoni-
tion: Don't enlarge too much; don't
starve quality for size — it isn't necessary.
A 5 x 7 will enlarge in all cases to 11 x 14,
and be the better for it. Most good
negatives will go to 14 x 17 if judgment is
used as to paper texture ; on rough papers
16 x 20 will retain all the quality of
negative. Up to those sizes you're safe.
Beyond those you will encounter a fast
falling-off in quality. I dwell upon this
point in working because it is essential to
my suggestion. When I suggest en-
largements for profit, I have in mind the
best. I said I wouldn't write of the
working part, but as I get into it I find
I can't pass over that mistake in the
working end without warning you of it.

Now that I've tried to prove to you
that you yourself can produce good en-
largements, I want to strongly advise you
against the other prerogatives. Do not
send your negatives outside for enlarg-
ing; if you do, you will waste your profit
and lose your calm of temper before the
year dies. This plan is practically useless
unless you carry it out yourself.

Now to go back to the selling end of it.
Make ready your samples, and work with
the idea that this enlargement departure
is just as much as part of your sale end as
are your efforts to talk the patron into
ordering a dozen prints rather than a
half-dozen.

Show these samples to every sitter —
talk them — suggest enlargements. I don't
care what sitter you select, there is a
premise to conclude they will want and
buy an enlargement — one or more. There
are the babies. You will find it the
easiest thing in the world to dispose of a
couple of 8 x 10's. Suggest a couple to
be given the grandparents. And children
are easy, too. Figure out a scheme to
give a little better, and an 8 x 10 for $5
instead of $4, regular price.

The young lady has her beau. Suggest
a 10 x 12 or 11 x 14 for him. The young
man has a sweetheart. Why not a larger
one for her? The husband and wife have
one another and their aged parents — a
chance for two large prints! — and the
old folks have their grown-up children.
Every sitter is a prospect; each one has
some relative, someone dear to them, to
whom they will, no doubt, be glad, even
anxious, to give a better portrait if they
can do so at a reasonable expense.

Put in a line of stock frames to fit
the standard sizes; arrange with a local
framer to furnish you moulding samples,
and sell on per cent. You may know of
some very clever colorist, rather artist,
with whom you could arrange to color
many of your enlargements.

Bridal couples are always certain. En-
largements on speculation will sell at
least 50 per cent. — the ones left are
always good samples. Larger prints in
your display-case are seen from a greater
distance, and more than one person will
be attracted from across the street.

It will cut down your plate bill so
far as speculative sittings and showcase
samples are concerned.

When you don't get a direct order,
watch the speculative end thoroughly.
Tell the sitter how satisfied you are
that a certain negative will enlarge hand-
somely; that you are going to make it up
on speculation. Give them something for
their curiosity and desire to grow upon.
Don't dismiss a customer, and always
have your speculation print ready by
the time the order is.

I want to give a little example in regu-
lation dollars and cents of the enlarge-
ment advantage.

First, presume you are not prepared to
do enlargements. You are talking prices
to, say, a bride and groom; they inquire
about prices — for instance, two dozen
cabinets. You answer, S10. They point
to some 8 x 10's — SI 5 a dozen, we'll say.
Half a dozen would be how much? Ten
dollars, you answer. "And a large one"
— pointing to a 11 x 14. You ask at
least $6 for one — duplicates, $3 each.
They quickly figure it all up — $26 total.
Too much, they conclude, so they only
sit for the cabinets. And yet you gave
them the most reasonable price you could.

146

ENLARGEMENTS AS A SOURCE OF EXTRA PROFIT

When they ordered from their proofs,
you probably secured about a $12 order.

On the other hand, had you been pre-
pared to enlarge, you could have con-
sistently priced the 8 x 10's at from a $1
each for the same thing you asked $10
for six up to $1.50 each for something
unusually well mounted, for the 11 x 14
from $2 to $3 would be a very good price,
and at these prices you can generally
secure such an order from bridal groups.
You are catching extra business and giv-
ing the customers what they want for
what they can afford to pay.

Where is the business logic in trying to
get a $25 order if it wouldn't turn you
any more profit, perhaps not as much, as
an $18 or $20 easily secured, just because
of the $5 to $7 difference to the customer?

In a plain spirit of fairness, you owe
your patrons something; in fact, any
business endures longest that owes its
patron the most.

You haven't so many sittings per week
but what a day's time would clear up an
enlargement or two from every negative
made during the week. If you do it
yourself, so much the better. There is
no process so fascinating as enlarging. If
you are a heart-and-soul photographer,
you'll forget to eat. No process has the
same latitude of manipulation. You can
go into your bromide department with
your pet negatives and do just those
things you want done to them. You'll
revel in it, and you'll be making money,
too. Not a bad way to spend a day, is
it? Or, if you have the right sort of
printer, it will be a happier day for him
than pay-day. Don't grow afraid you
can't hold up quality to your work. Do
as I suggest, and you'll improve the
general quality of your output. You'll
commence to appreciate photography;
little subtle qualities will unfold them-
selves day after day, and a year later
you'll notice the most marked improve-
ment in your work that any year has ever
before shown. And — mark this well —
it means more profit: hundreds more.

People like and want larger pictures,
not necessarily 20 x 24's — that's an in-
sane custom; they want them and will

buy them if you will put them within
their reach. But you know as well as
I do that your average patron cannot
afford any $5 to $15 for a large print.
Very few people would own their own
homes if they had to buy two-acre tracts.

There is no magic about the bromide
process; it does not require a genius of
talent or ability to manipulate it. If
you count yourself a good photographer,
you can do as well enlarging. That's the
working end of it.

Now to the business end — it means
quite a little more profit to you. Studios
conducted along good business lines are
doing it. I haven't proposed anything
but what any well-equipped studio has,
and should have, and, having it, they
should use it.

You think me impertinent about it.
Well, I know most of you photographers.
If I thought another strain of writing
would wake you up, I'd employ it for
your own good. We're a rather indolent,
procrastinating bunch — a good many of
us think we're artists, when we ought to
get busy and be business men first, and
let our art side develop along with our
prosperity. And, by the way, here's a
little thought for you to think over.

You're probably not the only photog-
rapher in your town — probably not the
only reader of the Journal. He may
read this article and follow it up. See,
I'm just playing one against the other.
Don't let him get the bulge on you; don't
let it be possible for people to come in
and inquire whether you make enlarge-
ments like the other fellow does. It is
going to hurt the man who doesn't, and
it will help you both if you do.

And so, right now let this resolution
take root in your mind : Resolved, That
I will attend to having an enlarging
equipment installed; that I'll have this
extra profit I've so long neglected. You
no doubt have dozens of articles on the
modus operandi of enlarging. Dig into
your magazines and get them out and
read up. Then put in your equipment,
use your head when you work, and you'll
soon be making extra dollars.

BY ALICE BOUGHTON

NEW YORK

PORTRAITURE

By A. C. R.

PORTRAITURE, you will grant, is
by far the most difficult branch of
our art. Take any other subject as
a subject for the camera, and with suffi-
cient teachnical knowledge the obstacles
are by no means insurmountable; but
what else in creation can compare with
the human countenance for mutability
and variety of change? Health, temper,
frame of mind, and dress are but a few of
the contending difficulties which meet
the professional photographer, for to
combine a pleasing portrait with a true
likeness must be our end and aim. As
our subjects are seldom perfect, it is
necessary to keep constantly before our
mental vision a distinctly ideal form, so
that when deformity presents itself, or
even a single deviation from our idea of
perfection in the human form divine, we
may be able to discreetly modify the
defect by the various means at our dis-
posal without entirely obliterating any
point which may tend to spoil the indi-
viduality of our sitter, and so attempt
a deceit which is a distinct violation of
the rules of true portraiture.

I think that most of us are cognizant
how very unmerciful photography at
times is apt to be; but if we can only
bring our artistic knowledge to bear
upon the difficulty, it is often more easily
solved than we should imagine.

Shall we look for a few moments at
the different points of the face, remark-
ing, first of all, on the mouth?

This is, perhaps, the feature, espe-
cially in ladies, which requires the most
careful observation, and on no account
should the mind of the subject be influ-
enced to the consideration of it, or a
total destruction of the natural lines will
probably be the result. Much may be
learned from a cursory conversation
with a sitter, during which an oppor-
tunity is gained of observing the delinea-
tion of the mouth when in animation or
repose. In many instances the youthful
female mouth may be treated with the
lips apart, but in this case a full illumi-
nation of the opening is necessary, as
(148)

the tendency in photography is to obtain
too dense a shadow, thereby destroying
the delicate transparency that we ad-
mire in nature. Children's mouths are
a fascinating study, with their beautiful,
soft, mobile lines, full of a sweetness and
repose seldom or ever to be found out of
childhood. Unfortunately for photog-
raphers, however, this ideal expression is
not the one most generally appreciated
by the loving mother or auntie who may
accompany the juvenile sitter, and a
grin which distorts the bow-like mouth
into a grin extending from ear to ear is
more likely to meet with their favor.
With advancing years the susceptibility
of the mouth to change is more apparent
than in any other feature. The devel-
opment of characteristics, the results of
certain habits, the circumstances of joy
or sorrow, all tend to leave an indelible
mark upon this most tell-tale feature,
leaving compression of lips, and de-
stroying with lines and twists the delicate
mobility of youth. All this calls for our
careful consideration in portraiture, and
demands our utmost skill in dealing-
with it. For instance, a twist may often
be modified by a judicious pose of the
head, and I shall make a reference later
on to the treatment of lines.

And now to pass on to the most at-
tractive feature of the human visage,.
which is indisputably the eye.

Again I must revert to the child.
Here we find the eye abnormally large,
a fact accounted for by the growth of
that organ not being in accordance with
the other features. Both in children
and adults this charming feature cannot
receive too much attention, for here you
have to deal with the "windows of the
soul." All our most interesting subjects
have fine eyes. While on this subject
it is useful to remember that a certain
latitude is allowed in the higher art of
painting with regard to the size of the
eye. But this is not a concession that
we can apply to the photographic art.
There are, however, certain conditions
in our practice which tend to an opposite

By ALICE BOUGHTON

NEW YORK

150

PORTRAITURE

result, unless we are on our guard,
among which I may mention the indis-
criminate use of light as being the most
guilty factor, and it should always be
borne in mind that too much light has
the effect of dwarfing the eye. Stray
lights are also detrimental, and are fre-
quently caused by the mischievous use
of white reflectors placed in too close
proximity to the sitter. The seat of
sweet feminine character is in the outer
corner of the eye, and more particularly
on the lower lid. Our greatest portrait
painters fully recognized the importance
of this most telling feature, for when
receiving or parting with their subjects
the eye was always the first and last to
attract their attention.

We have now dealt with the two lead-
ing points of the face wherein mainly
rests the expression, and the treatment
of the other features — viz., the nose,
chin, and ears — must depend on the
judicious points of vantage which can
only be selected by the photographer
after a study of the contour of his sitter's
head. The ugliness of a face may be
decidedly modified by choosing either
full, three-quarter, or side view, and the
calling into requisition of the charm of
light and the mystery of shadow, remem-
bering that the naked truth is deceitful.

But one of the photographer's most
serious barriers in the way of artistic
effect is the constant contending with
ugly fashions, the sleeve not infrequently
proving a most troublesome point, its
shape and size influencing in a large
degree the scale of the head. The large,
full sleeve, which, I regret to say, has
become a thing of the past, was, in
my opinion, admirably adapted for the
square bust portrait, although it cer-
tainly had the disadvantage of empha-
sizing the defects in short, stout figures
when full-length pictures were required.
The present style of sleeve calls for
special treatment, and only in excep-
tional cases is becoming. The arm
usually emerges from a tuft of satin or
other stiff material, about the size of a
breakfast roll, and in bust portraits the
short piece of arm which appears be-
tween the fulness of the sleeve and the
lower margin of the picture seldom looks
well.

But these and other vagaries of fashion
are good tests for the photographer's
powers of composition.

Children make delightful pictures,
their simplicity and serene unconscious-
ness being qualities which lend them-
selves readily to the painter's brush, or
the less pretentious camera; but to do
them justice, in either painting or pho-
tography, needs a special study and love
of infantile life. Reynolds was a great
lover of children, otherwise our eyes
could never have feasted on such art
treasures as Lady Smith and her chil-
dren, and many others.

His child models were, however, in-
variably well dressed, and here, again,
as in adults, the photographer is met
with a blank wall of opposition. A new
stiff or starched dress is a garment usu-
ally brought into requisition for the
important occasion, when an old, soiled,
or flimsy frock would doubtless have
been the very thing could the unhappy
photographer have made his own selec-
tion. In the case of very young chil-
dren the neck and shoulders should
always appear, although there is a
danger of making the head abnormally
large, unless discrimination is used in
allowing the dress to fall below the
shoulders, thereby giving the appearance
of greater width.

If the usual short frock is used,
nothing is prettier for a child than a
full-length figure standing alone, espe-
cially if taken from a low elevation,
which gives the little subject dignity,
and shows to advantage the limbs,
which are always interesting; but this
is doubtless the most difficult portrait
to secure with any amount of success.
The charm of our daily work with chil-
dren is the constant anticipation of what
may next reveal itself.

I will conclude with a few words as to
the practice of retouching. As in land-
scape work, so in portraiture, we get too
much detail; but, while not for one
moment losing sight of the fact that all
the predominant darks in the face are
conducive to likeness, yet the excessive
details which make their appearance on
the intervening spaces can bear modifi-
cation, as such detail is only troublesome
to the eye, and not of service as regards

PHOTOGRAPHS FOR HALF-TONE REPRODUCTION

151

the likeness; but when the retoucher
directs his energies to the wholesale
removal of the darks, then the likeness
at once begins to suffer. You remember

my reference to the seat of sweetness
in the female eye, and if the fulness
under it is removed, with it goes all the
poetry.

HOW TO MAKE PHOTOGRAPHS FOR HALF-
TONE REPRODUCTION1

PICTURES were the primitive man's
first attempt at recording his im-
pressions or transmitting his ideas.
Now, after the lapse of centuries, pict-
ures are again the essential for the quick
conveying of ideas to those whose fleet-
ing attention must be attracted favor-
ably.

The first primitive pictures were pri-
marily "idea signs." Estheticism was
no part of man's mental equipment. He
simply wanted to "get an idea across."
Buyers of illustrations for advertising
would do well to keep that thought in
mind.

In the great mass of advertising carry-
ing "pictures" the individual advertise-
ment must have more than a picture.
It must be illustrative. There's a dif-
ference.

Merely pretty "pictures" are too com-
mon. What is wanted is an illustration
which illustrates the selling points of
the article advertised or the advantages
of its possession to the prospective buyer
in profit, convenience, or comfort. It
must put the idea across.

Such illustrations can either be drawn
by an artist or be photographed. There
has been much discussion pro and con
about the comparative merits of draw-
ings and photographs. It would be apart
from our present purpose to go into
that discussion here. Suffice it to say
that the best photograph is not equal
to the best work of an artist, but a good
photograph is superior to a poor draw-
ing. In some classes of subjects, ma-
chinery for instance, a combination of
the two, a good photograph with some
art work, gives best results.

The purpose of advertising is to sell

1 From "Etchings," house-organ of Gatchel &
Manning, Philadelphia.

goods. The value of an illustration in an
advertisement is measured by the extent
to which it helps to do this. Advertis-
ing space is expensive. Catalogs and
booklets cost money. The photograph,
therefore, which helps to produce results
is the only one worth while. The cost
is secondary to accomplishment, and we
might remark in passing that "cheap"
photographs are generally the most
expensive in the end.

It may seem a wholly superfluous bit
of advice, but it is usually best to have
your photographs made by a photog-
rapher. Some buyers have the head
office-boy or the stenographer's brother-
in-law or some other proud possessor of
a hand-camera take snapshots. "It's a
whole lot cheaper than paying two or
three dollars per negative to that pirate
of a commercial photographer down
the street." We cannot emphasize too
strongly this one great big fact, that the
best photographs are generally the least
expensive for reproductive purposes.

Photographing of Machinery

The quality of a photograph, as deter-
mined by the precautions previously
taken, governs the amount of retouching
needed to prepare it for a first-class
reproduction. The cost of retouching is
entirely a matter of artist's time. It is
economy, therefore, to pay such atten-
tion to the preliminary work as will
reduce this cost.

Generally speaking, the photographer
is working at a disadvantage when mak-
ing negatives of machinery: The lighting
is seldom good; room is at a premium;
it is difficult to get correct perspective
and freedom from distortion. If a com-
petent photographer is "on the job,"

152

PHOTOGRAPHS FOR HALF-TONE REPRODUCTION

these troubles will be avoided or at least
minimized. The artist's work then will
be limited to the adding of proper light
and shade effects and the giving of
greater definition to the detail; but no
amount of retouching (short of prac-
tically redrawing the subject) will make
a first-class piece of work on a photo-
graph if the verticals are not parallel or
the pulleys or large flywheels in the fore-
ground are distorted.

False perspective is generally due to
the camera being placed too close to the
object, the result being that the parts
nearest the camera are relatively too
large compared to those in the rear. In
addition, these parts so enlarged hide
detail which would be visible viewed
from the proper distance.

The vision of the normal eye is about
sixty degrees. That is to say, the eye
sees naturally whatever is included
within that angle. The most natural-
looking photograph, therefore, will be
one which appears to the eye the same
as though viewed from a point at a dis-
tance equal to twice the greatest length
of the machine. Vertical distortion, in
which the lines converge toward the top
or bottom, is due to the ground-glass
not being parallel with the vertical lines
of the machine. If the machine is tipped
up, then the ground-glass must be swung
parallel to the then vertical line.

These things properly lie within the
sphere of the photographer, and if he
knows his business will be taken care of;
but there are other points to be noted,
little things, perhaps, but they figure
largely in subsequent cost of handling.

The camera sees things that the eye
does not notice: Defects in castings,
barely perceptible to the eye on close
scrutiny, loom up on a photograph; oil-
spots or other discolorations appear much
stronger than to the eye. Should these
defects show on a large casting or frame
of a machine it would necessitate the
painting over of the entire surface, and
if there were a number of bosses or ribs
or a quantity of detail on parts of it
the expense incurred in remedying the
trouble would be very considerable.

Much unnecessary expense is incurred
sometimes by sheer carelessness in not
having all the working parts of the

machine properly adjusted in the desired
positions. They have to be redrawn on
the photograph, which takes time and
skill. This means money. It frequently
happens that the background is not
sufficently screened off with white cloths,
and various foreign objects are in line
with the camera and not only have to
be removed but sometimes are confused
with the details of the machine.

Castings should not be shellacked
or varnished. Wherever possible, they
should be painted a dull, lusterless gray.

Glassware, whether ' ' etched " or " cut, ' '
presents peculiar difficulties in photog-
raphy. The chief obstacle to be over-
come is the "flatness" which is a char-
acteristic of many photographs of such
subjects, more especially when an effort
has been made to get sharp detail.

The remedy for this trouble, and most
others, with these subjects, is to photo-
graph the subjects in a diffused light at
an angle between forty-five and sixty
degrees — being careful not to have them
overtimed. The "timing" with glass-
ware is important.

Jewelry. In a general way, the same
rules govern the handling of jewelry as
given for glassware — diffused light and
accurate timing. As most subjects of
this kind are photographed arranged in
groups for pages, with a cardboard or
other background, the proper relief can
be had by giving careful attention to the
depth of the shadows and the angle of
the light.

Color Engravings. Photographs as a
basis for color engravings should have
no sparkling or bright high-lights. The
lighting, developing, and printing should
aim at a finished soft-gray print with
plenty of definition. A strong "con-
trasty" picture will almost inevitably,
in the usual course of handling, be-
come more "contrasty" in the finished
plates. With soft gray effects in black-
and-white prints a wide range of ma-
nipulation is possible in the re-photo-
graphing and etching. Prints of a sepia
tone are less desirable on account of the
poor reproduction quality of this color.

These hints are for the benefit of those
not in a position to avail themselves of
the services of a competent and experi-
enced commercial photographer.

THE FUTURE OF PICTORIAL PHOTOGRAPHY

By ALVIX LANGDON COBURN

/IN artist is a man who tries to
f-\ express the inexpressible. He
struggles and suffers, knowing that
he can never realize his most perfect
ideal. Occasional moments of ecstasy
lure him on, but nothing is final in art;
it is always progressing and advanc-
ing, as man's intelligence expands in
the light of more perfect knowledge of
himself and the universe.

It is this progress of the arts that has
interested me. Where is it leading us?
There are the "moderns" in painting,
in music, and in literature. What
would our grandfathers have said of the
work of Matisse, Stravinsky and Ger-
trude Stein? What do our grandfathers
say? They hold up their hands in
horror; they show their bad manners
by scoffing and jeering at something
they are too antiquated to understand.
It is the revolutionary of today, how-
ever, who is the "classic" of tomorrow;
there is no escaping the ruthless forward
march of time.

Yes, if we are alive to the spirit of
our time it is these moderns who interest
us. They are striving, reaching out
toward the future, analyzing the mossy
structure of the past, and building
afresh, in color and sound and gram-
matical construction, the scintillating
vision of their minds; and being inter-
ested particularly in photography, it
has occurred to me, why should not the
camera also throw off the shackles or
conventional representation and attempt
something fresh and untried? Why
should not its subtle rapidity be util-
ized to study movement? Why not
repeated successive exposures of an
object in motion on the same plate?
Why should not perspective be studied
from angles hitherto neglected or unob-
served? Why, I ask you earnestly,
need we go on making commonplace
little exposures of subjects that may
be sorted into groups of landscapes,
portraits, and figure studies? Think
of the joy of doing something which it
would be impossible to classify, or to

tell which was the top and which the
bottom!

In last year's exhibition of the Royal
Photographic Society there was a little
group of prints by American workers,
mostly entitled "Design" — many of
my readers will remember them. They
were groups of various objects photo-
graphed because of their shape and
color value, and with no thought of
their sentimental associations. There
were, I believe, tables, golf clubs,
portfolios, etc. The idea was to be as
abstract as it is possible to be with the
camera. Max Weber, the Cubist
painter-poet, was responsible for the
idea of these designs, and Weber is
one of the most sincere artists that it
has ever been my good fortune to meet;
but of course these experiments in a
new direction only met with sneers
and laughter — it is always the same
with an innovation in any direction.
In his new book, Essays on Art, Weber
says: "To express moods that stir the
emotion from within, as does music,
the plastic artist, when he conceives of
energetic rhythmic interlaced forms or
units, should be much more moved
than even by music. It is like cement-
ing a thought, or arresting a perfect
moment of time, or like giving body
to space, or solidity to air, or colored
light to darkness."

How many of us are moved like this
in photography? We think of the
camera as a rather material means of
self-expression — if we think about it
at all; but is it really so? Pause for
a moment and consider the mysterious
quality of light registering itself in
sensitized gelatin — all the scientific
poetry in the words "latent image."
In the days when men were burned at
the stake for practising "black magic"
the photographer would have been an
undoubted victim if it had been
invented in those dark times; but
now every "nipper" has a "Browniek,"
and a photograph is as common as a
box of matches — perhaps even more so,

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154

COLOR PRINTS ON OPAL

this being war time! Photography is
too easy in a superficial way, and in
consequence is treated slightingly by
people who ought to know better.
One does not consider music an infe-
rior art simply because little Mary can
play a scale. What we need in photog-
raphy is more sincerity, more respect
for our medium, and less respect for its
decayed conventions.

All the summer I have been painting,
and so I can come back to photog-
raphy with a more or less fresh view-
point, and it makes me want to shout,
"Wake up!" to many of my photo-
graphic colleagues. "Do something
outrageously bad if you like, but let
it be freshly seen." If we go on fish-
ing out our old negatives and making
a few feeble prints of them, just as we
have been doing for the past ten
years, photography will stagnate. I
have the very greatest respect for
photography as a means of personal
expression, and I want to see it alive
to the spirit of progress; if it is not
possible to be "modern" with the
newest of all the arts, we had better
bury our black boxes, and go back to
scratching with a sharp bone in the
manner of our remote Darwinian ances-
tors. I do not think that we have
begun to even realize the possibilities of
the camera. The beauty of design dis-
played by the microscope seems to me

a wonderful field to explore from the
purely pictorial point of view, the use
of prisms for the splitting of images
into segments has been very slightly
experimented with, and multiple expo-
sures on the same plate — outside of the
childish fakes of the so-called "spirit
photographs" — have been neglected
almost entirely.

As a start I suggest that an exhibi-
tion be organized of "Abstract Photog-
raphy;" that in the entry form it be
distinctly stated that no work will be
admitted in which the interest of the
subject matter is greater than the
appreciation of the extraordinary. A
sense of design is, of course, all impor-
tant, and an opportunity for the expres-
sion of suppressed or unsuspected
originality should prove very bene-
ficial.

You may think what you like about
the modern movement in the arts,
but the world will never be the same
place again. We may disapprove of
modernity in art, but we can never go
back to Academicism with the smug
complacency of yore. The hollowness,
the unthinkable dulness of it all, is now
only too clearly apparent. And it is
my hope that photography may fall in
line with all the other arts, and with her
infinite possibilities do things stranger
and more fascinating than the most fan-
tastic dreams. — Photograms, 1916.

COLOR PRINTS ON OPAL

By M. LeMEE

IN preparing color prints on an opal
support it is convenient to employ
the bromide opals marketed by sev-
eral makers of photographic materials
and treated exactly like bromide paper.
On this opal one image is prepared in
the first place, viz., the yellow, from
the blue-violet negative. The two other
impressions are prepared on a glass
plate coated with gelatin, and the two
bound together film to film, so that the

final picture is obtained protected by a
cover-glass. A great choice of methods
is open in preparing the red and blue
images, for a variety of chemical toning
methods can be applied to a developed
plate, but for the red image it will be
necessary to use a dye bichromate
method.

The yellow image is made on the
opal plate itself. I use the Guilleminot
lactate plates. The exposure is made

A GROUP OF PRINTS
By KARL STRUSS
NEW YORK

156

COLOR PRINTS ON OPAL

in a printing frame behind the negative
made through the violet screen. At
about twenty inches distant from a candle
the exposure necessary is about thirty
seconds. Develop with ferrous oxalate
or with the metol formula of the makers.
Fix and wash as usual ; the positive trans-
parency is put to dry and the toning
process carried on afterward.

To tone the transparency yellow the
silver image is converted into chromate
of lead. The plate is first placed in a
mixture of equal parts of the following
A and B solutions:

Potass ferricyanide ... 10 gm.
Water 100 c.c.

Lead acetate 5 gm.

Acetic acid 1 c.c.

Water 100 c.c.

The mixture of A and B is made at the
time of use.

If the ferricyanide contains a little
ferrocyanide — the commercial product
almost always does — the mixture is
turbid, owing to the formation of ferro-
cyanide of lead. It should be filtered
before use. It is well to rinse the ferri-
cyanide crystals quickly before dissolv-
ing them, to remove the greenish deposit
on them. The solution of ferricyanide
will keep for a fairly long time in the
dark.

The plate is left in this bath until the
image is completely bleached, which
takes about a quarter of an hour. It is
then put to wash for about half an hour,
in order to remove all yellow stain. For
obtaining perfectly pure whites the solu-
tion recommended by Namias may be
used with advantage, viz., 1 to 2 per
cent, nitric acid, in which the bleached
plate is left for about ten minutes.

At this stage the image consists of a
mixture of ferrocyanides of silver and
lead. The lead is now converted into
chrome yellow in a bath of bichromate,
the silver being afterward removed by
a solution of hypo. Namias suggested
that the latter operation be done first;
but it is a mistake to do so, since some
lead ferrocyanide is also removed, and
the resulting image is too weak. It
might be feared that by using the bichro-

mate first chromate of silver is also
formed, but this is not so; a bichromate
solution does not act on the silver ferro-
cyanide.

In carrying out the process the
bleached and washed plate is placed in
5 per cent, bichromate solution, in which
it changes almost at once to a yellow —
of shade modified by the silver ferro-
cyanide. The plate is then washed
until the gelatin has been freed from
yellowish stain, and is then placed in
10 per cent, hypo solution, which
brightens up the image. It is left in the
hypo for about ten minutes, in order
to ensure removal of the whole of the
ferrocyanide. After washing for half an
hour (in five or six changes of water)
it is put to dry.

For the preparation of the red image
any dry plate — a fogged plate will do —
is fixed in 20 per cent, hypo and well
washed. A number of plates can be
treated in this way and dried. The
plate, wet or dry, is placed for four
minutes in 2 per cent, bichromate solu-
tion, drained and dried in the dark.
When thus sensitized it is used as soon
as possible. It is used to form the red
image. I have found that if the blue is
formed first on it this first image diffuses
into the second film of gelatin during
drying, and thereby becomes badly
defined. By beginning with the red this
defect is avoided.

In the method which we describe the
red images, as also the blue, are printed
from positives, as in the pinatype
process, and therefore it is necessary
first to prepare positives from the nega-
tives made through the green and red
light filters.

The bichromated gelatin plate is then
placed in a printing frame behind the
"red" positive, film to film, and exposed
to daylight. An actinometer may be
used in judging exposure, or a similar
positive may be placed alongside with
a piece of P. O. P. behind it, the action
of the light on the latter indicating the
exposure of the bichromated plate.
There is very little difference in the
printing times of the two materials.

After printing, the plate is washed in
several changes of water to remove the
bichromate — that is, until the washings

COLOR PRINTS ON OPAL

157

are no longer yellow. The parts which
have received the most light action —
that is, the high-lights of the subject —
retain a yellow stain, which must be
discharged by means of commercial
bisulphite lye mixed with twice its bulk
of water. The plate is then again rinsed
in two or three changes.

It can now be left to dry or placed at
once in the red dye bath. To prepare
this latter 5 grams of cochineal car-
mine (or the same weight of a pinatype
Red F) is powdered and triturated with
a little water to form a sort of paste,
to which 10 c.c. of ammonia are added.
After a few minutes make up with water
to 100 c.c.

In this solution the gelatin absorbs
dye only in the parts which have been
more or less protected from light. The
plate should be removed from time to
time from the dye bath, rinsed quickly
under the tap, and examined over a
sheet of white paper. If it be examined
by holding it up to a window it will
probably be obtained of too great depth
of color. When it is judged that the
image is correct the plate is washed
until the washings no longer show a red
tinge. It is then placed for five minutes
in a bath, which both hardens the film
and fixes the color. This bath is:

Potash alum
Copper sulphate
Water . . .

2gm.

1 gm.

100 c.c.

The blue image has now to be pro-
duced on this same glass, for which
purpose the first thing is to flow over
a second film of gelatin; 10 per cent,
solution of gelatin is made. I use
Nelson's No. 2. It is put to swell in
cold water, then heated on a salt bath
to about 70° C, until completely dis-
solved, and then filtered hot through
cotton wool.

For a 9 x 12 cm. plate 7 c.c. of gela-
tin solution are used. Use about 7 c.c.
per square decimeter. The plate should
be level when being coated. For this
I use tbe following plan, recommended
to me by M. Baudot, of Brest. The
plate is simply flated on a bath of
mercury (quicksilver). As the gelatin
sets quickly in these circumstances it
is well to make the back of the plate
quite hot just before floating it on the

mercury. The gelatin solution should
be 50° to 60° temperature. It is poured
on the center of the plate and then
spread evenly with a bit of bent glass
tube, previously made hot. When the
gelatin has set the plate is stood upright
to dry, away from dust.

The next treatment is the same as
for the underlying film. The plate is
sensitized in the bichromate solution;
or these two operations may be com-
bined, i. e., the plate flowed over with
a solution of gelatin and bichromate.
But it is best I find to make the opera-
tions separate, since the gelatin film,
after coating, takes a long time to dry,
while it dries rapidly after the bichromate
bath. Now the bichromated gelatin
soon loses its properties; by adopting
the plan which I advise the work may
be interrupted for any length of time
after drying the gelatin-coated plates,
and the latter rendered sensitive for use
when one has the leisure.

When the second film of bichromat-
ized (sensitized) gelatin has dried the
plate is laid in contact with the "blue"
positive in exact register with the red
image on the plate. This register is
done most simply as follows: Slide the
two plates over each other, looking
through them by artificial light or
diffused daylight. In the case of plates
of large size it is well first to put the
positive in the printing frame, to place
the latter across a couple of piles of
books, arranging between them an elec-
tric lamp. The bichromated plate is
then laid on the positive, and when it is
seen to be in register it is kept in place
with one hand while the back of the
printing frame is put in (over the part
not held by the hand) and sprung down.

Exposure to light and subsequent man-
ipulations are the same as for the red
image. The dye bath is made by dis-
solving 5 grams diamin blue or pina-
type blue F in 100 c.c. water. The plate
is dried without using an alum bath.

The only material dificulty in the
process is that common to all three-
color printing processes, viz., the exact
adjustment of the depth of the three
primary printing colors, red, blue, and
yellow. It is therefore important to
know how to reduce or intensity one of
the colors.

158

COLOR PRINTS ON OPAL

!Y JANE REECE, DAYTON, OHIO

The red can be intensified by dipping
the plate again in the dye bath. It
can be reduced by applying to it under
water a gelatin-coated paper (ordinary
bromide paper, as purchased, will do).
They are removed together from the
water, a rubber squeegee passed over
to make good contact, laying a piece of
sheet of taffeta, a damp piece of felt
or sheet of moistened blotting-paper, then
a sheet of glass, and finally a weight
such as a pile of books or box of nega-
tives. The image transfers itself little
by little to the gelatined paper and so
reduces the depth of the print. The
process may be repeated several times.

It is evident that when we have
tanned the gelatin, which contains the
red image, and laid the blue image upon
it, it is not possible to correct the red
impression except by hand retouching.

The blue image may be reduced or
increased in depth in the manner just
described.

As regard the yellow image, its
depth may be reduced by passing it
through a weak solution of potash,
which is a solvent of the lead chromate.
If the yellow image is not deep enough
there is nothing for it than to make
another print on a fresh opal plate.

It is easy to judge of the respective
depths by temporarily mounting the
glass plate on the opal.

For the final mounting the glass
and opal plates are placed film to film
and adjusted into exact register, which
latter may be examined with a magnifier.
The plates are then held in place
with metal clips, and, thus secured, are
bound together with gummed paper.

The whole process may be applied to
the reproduction of autochromes and
similar transparencies, but it must not
be expected that the reproduction will
be equal to the original. — British Journal
of Photography.

FRACTICAL PAPERS ON STUDIO WORK AND METHODS

Business Getting

There is no doubt but that a goodly number
of talks could be given on the subject of business
getting from the viewpoint of a photographer,
and that each might cover the subject in a
manner distinct and peculiar to itself. Many
men are of many minds and there is no royal
road to fortune and success, else everyone would
be wending his way upon it, to the confusion
and detriment of all travellers.

The personal equation enters largely into the
explanation of the success of men in the various
fields of endeavor. Some photographers who
know not, are no doubt doing a lively business
with a clinetele that knows not, and are counted
as successful, and yet their methods of doing
business could in nowise be set down as a bright
and shining rule, to be followed by other men of
entirely different quality of brains and ability.
The man who will thrive in one community
may starve in another, and so it is, there must
be different methods for different men, for
different localities, and for different publics.

The small town man may have to cater alike
to rich and poor, the cultivated and the ignorant,
the artistic and the great army of those endowed
with exceeding poor taste. A man so situated
must be possessed with an acrobatic mind to be
able to cover even the small field before him. In
large communities there are large enough classes
of citizens in each category to allow photographic
workers to specialize.

The doctor in a small town must be a general
practitioner; in the large communities he can
devote himself successfully to one particular
branch of his profession. Within the memory
of living men a millionaire was a scarcity and
his name was mentioned with awe and reverence;
today millionaires, multi-millionaires, and families
with yearly incomes of millions are found
sprinkled generously in every city block. We
have passed the period of corduroy roads and
have entered upon an era of great fortunes,
general education, and much culture.

Every town holds enough people who

appreciate the best that the world can give them,
and who are able and willing to pay for the
gratification of their good taste; therefore, I
believe the photographic workers will each reach
their own particular level, which level is fixed
entirely by the quality of their individual
brains and abilities. The young man, the middle-
aged man, and perhaps even the elderly worker
in the photographic field, should endeavor to
develop the best that is within him, and in these
days, for the best, he will receive ample reward.

At the same time, while striving for the big
things, the little ones must not be overlooked,
for in their sum they contribute in great measure
to the success of a business, especially that of a
photographer.

The first of these details, the majority of which
are perfectly apparent to most of us, is a cleanly
and attractive studio. Perhaps we are not
possessed of that good taste which instinctively
creates attractive and artistic surroundings;
but cleanliness all can comprehend, and it lies
as close to art as it does to godliness.

Cleanliness must not stop at the studio itself —
and perhaps this admonition is not at all neces-
sary— but must apply to the person and the
clothing of the photographer himself and to his
entire working force. The cheap trade will not,
perhaps, mind a soiled collar, untidy finger-nails,
or grimy hands; but the better class of clients,
especially if they be of the gentler sex, while
they may, as become ladies, tolerate the associa-
tion with such an operator once they are com-
mitted to a sitting, it is safe to say will not
repeat the experiment. It is true, clothes do
not make the man; but, combined wTith personal
cleanliness, they go a long way in proclaiming the
gentleman and inspiring confidence and respect.

Good work attracts custom, good handling
keeps it. Good handling is a matter of mind, as
well as of raiment. Some sitters must be made
to talk, others must be talked to. The operator,
to be able to draw out his sitter, must reach
into his own mind for the material. Thus,
meeting many people of varying types and
interest, he should be well equipped mentally

(159)

160

THE STUDIO

with material which should at least cover the
main topics of thought of the times and especially
of the day. No successful man can afford to
vegetate, or bury himself in one channel of
thought, unless he is writing, working, search-
ing, or building for future generations. The
photographer may do some few things which
may live long after he has departed; but he
himself must perforce live and thrive today,
and consequently must so order himself and his
methods as to secure immediate and satisfactory
results. — Association Annual.

Keeping Your Business Vigorous

Dismiss the idea forever from your mind that
because business is running smoothly and satis-
factorily it surely will continue to do so from its
own momentum, aided with a little effort now
and then. Forget it!

There was once force that built up the business.
The same force must be applied to it every day
of its existence, and that force is:

Intelligent effort: Conditions constantly
change: Keep in touch with new conditions.
New forces enter the field: Watch them. These
forces are different from the old ones and
unexpected moves may be made to your detri-
ment.

Open, watchful eyes and a clear, cool, and
active brain must be the possession of him who
would succeed today. Whatever technical knowl-
edge in relation to his business he is supplied
with, so much the better. And there is no single
knowledge more important to a business today
than advertising. Advertising is the great
salesman. He voices his arguments through
printers' ink and he should always be of the living
present, sound in argument, happy in expression
and dressed so as to win and please the eye.

Some may say that illustrations and types are
matters that need not bother the merchant
much, for they are fixed commodities and can he
had anywhere at any time.

There is a taint of unsoundness in this logic,
but let it pass. One ever present, ever live
feature of advertising beyond the power of dis-
missal by any advertiser is: What to say?

Every advertisement must be thought out
and written.

The business man who advertises must
regularly answer the pertinent question of:
What to say?

The goods and prices that are clamoring for
advertising recognition force the issue: What to
say?

The dull business of the present preys upon
the merchant's mind and stirs up the eternal
advertising question: What to say?

The sale about to begin asks with a great
interrogation point the conundrum: What to
say?

The sale already under way and which must
be fed with the food of good advertising pro-
pounds the problem: What to say?

The new goods — dainty, delicate, desirable,
stylish, serviceable, sensible — the harbingers of
the coming season's fashions, fads, and fancies,
whisper with gentle but irresistible insistence the
ticklish question: What to say?

The old goods that are eyesores, because not
in the public's possession long before, ask in a
gruff, husky voice, as though they themselves
were tired of lingering on the merchant's shelves:
What to say?

The march of business improvement keeps
quick time to the tune to which these words are
answered: What to say?

The standstill of business under inert or
incompetent direction seems to hush itself
because there is no answer to: What to say?

The retrograde movement of trade gives the
abject shuffle of the bankrupt, because of the
inapt and unbusiness-like answers to: What to
say?

What to say? is the great question that con-
fronts every business man who advertises. If
he answers it right it is probably because he has
properly replied to the other great question:
What to do? or, in other words, he did what he
should in his storekeeping, the right expression
of which appears in his advertising.

Wonderful

It is perfectly wonderful, far beyond the com-
prehension of some of us, when we see the work
which is turned out by photographers with the
apparatus which they have to work with. How
many of them succeed in doing as good work as
they do we cannot understand, neither do they
realize how much this work would be improved if
they had the proper apparatus.

We believe there are some studios that never
heard of a silent shutter, for their shutter works
like a trip-hammer and you can hear it all over
the studio. The time lost in wrapping the plate-
holder in the focussing cloth to prevent fogging
the plate during the month of December, would
pay for many new plate-holders. The time lost
shifting the sitter from one place to another, or
shifting the background from one place to another,
in order that the holes punched in the same will
not show in the picture, would buy many a new
background. The time lost in the reception room
trying to explain to customers why pictures are
not what they expected, when they are simply
underexposed on account of the slowness of the
lens, would buy a new lens in a short time.

Efficient apparatus in all branches of the studio
more than pays for itself in time saved during a
few weeks of rush work.

We are not surprised that many customers are
disappointed when they receive their proofs, when
we take into consideration and see what the
photographer has to work with. The customer
does not know that the pictures which they have
seen made in another studio are better because of
the apparatus used. They only know that they
are disappointed in the results. The photog-
rapher should know why this difference.

If it is impossible to purchase new outfits, it is
possible to put the old ones in the best of working
order, and oftentimes the cost is very small. The
nervous strain on an operator when he is trying
to make some exceptionally good work of some
exceptionally fine customer with apparatus that
is uncertain costs him more than a new camera.
But how can we make the operator believe it?
There is no reason why we should not throw away

THE STUDIO

161

an old camera or an old lens just as we would
throw away an old hat or an old pair of shoes.
Many will throw away an old hat or old shoes
because they are out of style and they are afraid
their friends will notice the same. The hat may
be in perfect wearing order, but they will leave
their old outfit in their studio for their customers
to see and never think that this affects their busi-
ness in the least.

The appearance of the studio should be in
keeping with the appearance of the photographer
when he is dressed up in his Sunday suit. — Ohio
Photo News.

Pointers on Composition

A portrait is the record of a person at a certain
age, in a certain mood, in a certain garb. A good
print is the result of what has happened in the
studio previous to pressing the bulb.

One of the most, if not the most important
factor in arranging the composition of a portrait
is the correct placing of the head.

It is a fundamental rule that the face should
never be placed in the centre of the picture.

A portrait (in particular, a bust portrait)
should be as simple as possible. It should explain
itself at first glance.

Never use the profile view unless the face
warrants it.

The unsatisfactory rendering of hands is one of
the drawbacks of photographic portraiture.

A background always consists of two masses,
one lighter than the other.

The trouble with the painted-in backgrounds
that have lately become so fashionable in photog-
raphy is that they are not made by trained artists.

In groups, the people must do something, or be
interested in something, or the result will, in nine
out of ten cases, prove unsatisfactory.

In photographic portraiture the simple light
effects are the best.

The face should present the largest lighted
plane in a portrait.

The larger the range of light and shade, the
more accurate in expression, in construction, and
modelling the face will become.

The strongest high-lights on accessories always
sacrifice something of the likeness to a pictorial
effect.

Portrait photography has become more pic-
torial, but less clear and precise in expression.

The keynote of color in the human face is light,
and it should be rendered in that way.

The majority of portraits today look as if the
people depicted were mulattos or quadroons,
which is not particularly flattering to the sitter.

The shadows of a hat can be used to great
advantage as an eliminator of details in the hair.

The mother-and-child picture is apt to produce
an emotional effect, and the better it does this the
more satisfactory is the portrait as a picture.

The most natural and generally accepted
method of placing the heads in a mother-and-
child picture is to place the head of the mother
higher than that of the child.

In draping, everything depends on lines that
flow freely, that do not obscure the form, yet do
not show it too clearly.

The less use you make of furniture the better
you and your pictures will fare.

In photography, the representation of one
picture in another should always be avoided.—
Sidney Allan.

The Price and the Reason

The advancement in photography in the last
twenty-five years is far in excess of that which
is realized by the casual observer, and yet the
professional photographer stands away below par
so far as commanding the dignity and respect
of the public is concerned as compared to days
gone by. Today there are too many who profess
and are unable to " make good." Too many wise
ones minus ability. The amateur, as a rule, is
wise, but doesn't know. There are amateurs who
are posted, amateurs who are indeed the expert,
but they are not the rule. The first thing that the
amateur of today sets forth is the postcard fad at
"cut-rate" prices. As soon as the camerist is
able to discern the image on the ground-glass, he
enlists in the "army of photographers," and is
generally a good customer for "ammunition"
from the beginning. He is not going to make
photographs for the fun of it any longer. He is
going to sell his porductions at some price —
whatever that is. Of course, he will get all he
can, that is natural, but it is the beginning of a
new schedule to be added to the innumerable ones
already in vogue.

We now come to the postcard man — the 50
cents per dozen man. Then the better studios
who make postcards at all the way from 75 cents
per dozen to $2.00 per dozen. Is it proper that
studios — good studios — should make postcards at
all? How many of you have had customers to
enter your studios, prospective customers for good
work, at at least a fair price, and before leaving
the studio leave their order for a dozen or two of
postcards? How many of you have heard this
remark in your own studios: "We'll just have
postcards now, and get something better later
on?" Alas! too many have heard the same old
story. Then, what is the remedy? Stop making
the postcard. Just so long as the feeling exists
that "we make them because the other fellow
does," just so long will the runious effects of the
postcard be prominent.

This is not a decry of the postcard — not by any
means; the postcard fad is on, the postcard man
has his place; if he hasn't, he should have; the
postcard business has proved lucrative to many
a firm, is a prosperous business in its place, but
keep it out of the well-regulated studios. It has
done more to demoralize the price of good, sub-
stantial, honest photographs than any other one
thing to my knowledge.

A great deal can be said of the coupon and
ticket schemes, many things far from flattery, but
the ruinous effects of these are practically worn
out as compared to the postcard portrait of today.

You will ask, How quit making postcards when
Jones makes them at 75 cents per dozen; Smith
makes sepias at $1.25, while Brown makes vig-
nettes at $1.50, with a beautiful folder thrown in?

There is but one remedy: organize. Either
stop making them or place the price where the

162

THE STUDIO

matter will take care of itself. Of course, it is
easier to organize than to remain organized. Tis
true, nevertheless, that is the one remedy, and
unless taken advantage of you must be content
with the curse of the postcard.

Organize locally, compromise, have an under-
standing between yourselves, stick to the agree-
ment, and take your medicine either one way or
the other.

Minimum Prices

We realize it will be no easy matter to get
the photographers to see that they have every-
thing to gain and nothing to lose by adopting a
reasonable schedule of minimum prices for differ-
ent grades and sizes of work.

There is no reason why the regular photog-
rapher should make post-cards for less than a
certain price per dozen, no matter where he is
located, and there is no reason why the regular
post-card photographer should not get a certain
price, wherever located.

The minimum price on 4 x 6 prints, in dozens,
mounted in folders, could be easily established,
and those who wish to get more, by giving a
better folder or anything of that kind, could
easily do it.

If a few photographers would put a little time
and energy into this proposition, or the National
Association would take it up, it would aid much
in increasing the profits of the average photog-
rapher.

The only way it will ever be accomplished is
by a few taking hold and gradually getting others
to follow.

It is born in some people to sell cheaply.
They are under the impression that it is the way
to get business and make profits. This is entirely
wrong. The photographers in the past have
cut prices to the limit. Show me the photog-
rapher in any city or any town who has cut
prices and made profits. It is true there are
some who will put out a ticket scheme at a low
price, and then raise customers when they come
in, but they seldom get the same customers a
second or third time.

Let us hope that photographers will never
again seize any opportunity to reduce prices.
They should first make, and then maintain,
prices which will give them a good profit.

Photography is a business which requires
brains, men that are amply qualified to make
good wages at any other trade should they
attempt it. Many photographers are qualified
to design materials and apparatus which would
be of benefit to the profession. But there is no
encouragement for this kind of work when
photographs are sold at bargain prices. — Ohio
Photo News.

Re-orders

Orders for duplicate copies from old negatives
do not seem to form such an important part of a
portrait business as they used to do, and it is
desirable to trace the reason for this falling-off.
In some cases it is due to a rather shabby though
perfectly legal action on the part of the customer,
who has a few copies from a good photographer,
and gets further prints made by a cheap copyist.
For this state of things there is uo remedy. In

many cases it is, however, the fault of the
photographer himself for not clearly pointing
out, when completing the original order, that
additional copies can be had at a reduced price
in the same or any other process. During our
peregrinations last week we happened to be in a
certain reception room when a customer came
in and, producing a faded cabinet on albumen
paper, asked if the negative were still in existence,
as if so he wished for some copies from it. The
receptionist assured him that the negative was
preserved, and, being well up to her work, asked
him by what process he would have the prints
made. This seemed somewhat of a surprise for
him, for he expected only to be able to have
silver prints upon gold bevel mounts. He
finally decided upon carbons on large Japanese
vellum mounts, giving an order greatly in excess
of the amount of the original sitting. It is well
worth while to enclose with each completed order
a printed slip giving the price for duplicates in
the same and other styles, and also prices for
enlargements, at the same time emphasizing the
great superiority of the prints when they are
produced from the original plate, but, on the
other hand, pointing out that old photographs
can be copied in various styles, to match the
prints now sent.

The question of price is a difficult one to settle.
Some portraitists quote duplicate prices upon
their ordinary list, but this does not tend to
clearness, and it also has the disadvantage that
it does not cover new styles. On the whole, we
are inclined to think that it is better to allow a
fixed percentage off the prices for original orders,
25 or 33% per cent, being a fair allowance. A
little care is necessary in arranging a list so that
it is not possible for a customer to get, say, a
dozen prints more cheaply by ordering a half-
dozen at first and another half-dozen later,
a thing we have known to occur. We have
a price-list before us in which half-dozens
are charged at two-thirds the price of dozens,
and three copies for two-thirds the price of a
half-dozen, while duplicates are in all cases
two-thirds the prices for similar quantities and
styles. This idea may not appeal to all photog-
raphers, but it certainly appears to be better
to have some businesslike system of charging
than to indulge in the mass of inconsistencies
which one so often finds, and which the recep-
tionist never succeeds in mastering. With
reference to recent sittings with which customers
are well pleased, it will often be found profitable
to submit a proof upon any new mount, or by any
new printing process which may have been
adopted since the sitting; this will often suggest
a re-order, and also help to get the new style
known, for such a proof is sure to be freely shown
to relatives and friends. It is, of course, a little
speculative to do this sort of thing, but it is not
open to the objections which exist against the
invitation system. It might also be made the
means of introducing the "standard" sized
mount into a district, if a note explanatory
of the system were sent with it, making it the
excuse for submitting the print. The device
may fail in its original purpose, but it is certain
to serve as an advertisement, and if it brings
fresh sitters instead of re-orders, so much the
better. — British Journal of Photography.

■'-J

NOTES

AND

NEWS

" iM

The British Journal Almanac for 1917

Although this year's almanac is somewhat
reduced in size, reflecting conditions of the times,
it is up to the standard in the quality of the in-
formation and still remains a veritable "photog-
raphers' daily companion" quite indespensable.
Such subjects as: "Apparatus and Equipment,"
"Negative Processes," "Printing Processes,"
"Color Photography," "Formulae for Principal
Processes," etc., are classified and treated in a
thoroughly suggestive and practical manner for
references. We are told that "the paper ques-
tion" is chiefly responsible for the reduction of
this year's edition by one-third, so that orders
not to disappoint should be sent promptly.
Price, paper, 50 cents; cloth, SI. 00. G. Murphy,
Inc., Agent, New York, or through this office.

Awards John Wanamaker Twelfth Annual Ex-
hibition of Photography March 1st to 17th

From more than 1100 pictures submitted by
250 workers the judges selected 55 as being
worthy of special notice.

While these were the only pictures hung in this
Twelfth Annual Exhibition, the average quality
of all pictures submitted this year was superior
to that of any former exhibition.

Prizes Awarded

First, $100. "Wall Street." Paul Strand,
New York City.

Second, $50. "In a Boat Yard." Leonard
Westphalen, Chicago.

Third, $25. "A Vale in Arcady." John Paul
Edwards, Sacramento, Cal.

Fourth, $10. With Special Mention. "Flames
of Oil." B. F. Armiger, Philadelphia.

Fifth, $10. "East Side." Karl Struss, New
York City.

Sixth, $10. "The Sermon." Frank V. O'Connor,
Chicago.

Seventh, $10. "Thou Shalt Not Covet." W. G.
Fitz, Philadelphia.

Eighth, $10. "A Dune Composition." Ernest
P. Thurn, Chicago.

Ten $5 prizes: "A Mountain Home," M. V.
Browning, Littleton, Col.; "Winter's Snow,"
L. F. Deming, Philadelphia; "Weird Grove of
Death," John Paul Edwards, Sacramento, Cal.;

"South Penn Square, Winter," W. G. Fitz,
Philadelphia; "River Scene," H. Crowell Pepper,'
Cleveland, Ohio; "Brooklyn Bridge," Karl Struss,
New York City; "Eugene Hutchinson," Edward
Henry Weston, Tropico, Cal.; "Miss Dextra
Baldwin," Edward Henry Weston, Tropico, Cal.;
" In a City Park," Leonard Westphalen, Chicago;
"The City That Stands on a Hill," John Wray,
Brooklyn, N. Y.

Assistant Photographer for U. S. Reclamation
Service

The United States Civil Service Commission
announces an open competitive examination for
assistant photographer, Reclamation Service, for
men only, on April 18, 1917. A vacancy in
Washington, D. C, at $1020 a year, and future
vacancies requiring similar qualifications will be
filled from this examination, unless it is found in
the interest of the service to fill any vacancy by
reinstatement, transfer, or promotion.

The duties of this position will be mainly those
enumerated in the paragraph below as pre-
requisites for this position.

Competitors will be examined in the following
subjects, which will have the relative weights
indicated:

Subjects. _ Weights.

1. General principles (including view

photography, chemical manipu-
lations, printing, toning, devel-
ing, and redeveloping) . . 40

2. Bromide enlargements, lantern

slides, transparencies . . 30

3. Training and experience . . 30

Total

100

Applicants must have actual commercial ex-
perience in view photography, bromide enlarging,
making good scenic lantern slides, copying on dry
plates including color copying with screens, pre-
paration of developers, chemical baths and mix-
tures used in dark-room work, making transpar-
encies on plates and celluloid films, printing
gaslight papers, toning, redeveloping, and some
flash-light and portrait work. A fairly detailed
statement as to the amount of above experience
should be included in the application.

(163)

164

NOTES AND NEWS

Statements as to training and experience are
accepted subject to verification.

Applicants must have reached their twentieth
birthday on the date of the examination.

Applicants may be examined at any place at
which this examination is held, regardless of their
place or residence; but those desiring appoint-
ment to the apportioned service in Washington,
D. C, must be examined in the State or Territory
in which they reside and have been actually
domiciled in such State or Territory for at least
one year previous to the examination, and must
have the county officer's certificate in the
application form executed.

No sample questions of this examination will be
furnished.

Applicants must submit to the examiner on the
day of the examination their photographs, taken
within two years, securely pasted in the space
provided on the admission cards sent them after
their applications are filed. Tintypes or proofs
will not be accepted.

This examination is open to all male citizens of
the United States who meet the requirements.

Applicants should at once apply for Form 1312,
stating the title of the examination desired, to the
Civil Service Commission, Washington, D. C, or
to the secretary of the United States Civil Service
Board at any place mentioned in the list printed
hereon. Applications should be properly exe-
cuted, excluding the medical certificate, and filed
with the Commission at Washington in time to
arrange for the examination at the place selected
by the applicant. The exact title of the examina-
tion as given at the head of this announcement
should be stated in the application form.
Issued March 9, 1917.

David Stern Co.'s New Catalogue

This new catalogue shows a complete line
of cameras, lenses, motion-picture cameras and
photo accessories at unusual and attractive
prices. Send for a copy of Catalog No. 511 if
you are looking for reliable bargains.

Los Angeles Photographic Salon

The Southern California Camera Club an-
nounces a photographic salon to be held during
the latter part of May in the rooms of the club
in the Lyceum Theater Building, Los Angeles.
Contributions of pictures are solicited from pho-
tographers everywhere. While no prizes will
be awarded, a standard will be maintained in the
hanging of pictures that will render the hanging
of a picture in the Los Angeles salon a recogni-
tion of high artistic merit. The selection of
pictures to be hung will be by a disinterested
committee of three recognized artists. While it
is requested that mounts do not exceed thirty
inches, largest dimension, prints will be disbarred
only because in the opinion of the judges the
pictures do not represent the highest standard of
the pictorial qualities. Prints must be in the
hands of the print committee of the club not
later than May 1.

Entrance blanks are obtainable upon applica-
tion to Miss O. P. Close, 313 West Third Street,
Los Angeles.

The New Technicolor Process

The new color-process developed for the
technicolor Motion-Picture Corporation by a
firm of research engineers, Kalmus, Comstock
& Wescott, Inc., bids fair to become an impor-
tant commercial development. The pictures,
are capable of showing rapid motion without
the well-known color-fringe phenomenon; and
since they do not depend on physiological
synthesis for their color effects, there is no
unnatural eye fatigue.

Several thousand feet of film have been
privately exhibited in Boston, and have met
unqualified approval from a large number of
critical observers. The company is now tak-
ing pictures in the vicinity of Jacksonville,
Fla., to be used in the production of a five-
reel feature which will be ready for the public
before many weeks.

A particularly important innovation which
these engineers have instituted is a portable
film laboratory and development plant built
into a Pullman car. This results in a material
advantage through the fact that hitherto a
great deal of inconvenience has been suffered
on account of the necessity to send the films
for development to a distance from the place
at which they are taken. Faults in the film
have therefore been discovered too late for
easy correction. With the new portable plant
on the scene of production, the final film can
be examined on the screen almost immedi-
ately after it is taken, so that it is quite con-
venient to retake any portions that may
require it.

The plant is also particularly impressive on
account of the completeness of its automatic
control. Practically nothing from start to
finish is left to the guesswork of the operators.
Machines invented for the purpose apply all
wet treatment to the film; the camera is motor
operated at exactly the desired speed, and
the exposure allowed the negative is determined
by a scientific light-measuring instrument of
new design.

As regards personnel, C. A. Willatt, well
known as "Doc" Willatt in the motion-picture
world, of which he is one of the leading experts,
is director of the department of production.
The technical staff includes Dr. Herbert T.
Kalmus, former director of one of the Cana-
dian government research laboratories; Dr.
Daniel F. Comstock, of the Massachusetts
Institute of Technology, and Prof. E. J. Wall,
the well-known photographic expert. The
equipment is in charge of W. B. Wescott.

We understand that the Technicolor Company
is amply financed, and that rapid commercial
development may be expected. — The Photo-Era.

New Goods

The Wollensak Optical Company, of Roches-
ter, New York, makers of the Verito diffused
focus lens, make special announcement of the
introduction of a set of diffusing stops for use
with the Verito lens in enlarging.

Heretofore, in order to obtain enlargements
that possess the quality of diffusion that was most
pleasing, it was necessary to make a series of ex-

NOTES AND NEWS

165

posures at different apertures, making it rather
impractical for the average photographer, as it
was not an easy matter to gauge the required
exposure at the different apertures to make up
the complete amount of exposure necessary for the
enlargement.

The new Wollensak diffusing stops for the
Verito eliminate the necessity of making different
exposures, and by the employment of one of
these stops an enlargement with a rare quality
of diffusion is obtainable. There is no other
method that will produce this quality of diffusion
now being employed.

There are three stops to the set, governing
three different degrees of diffusion, so that the
operator can use whichever one suits his fancy
best. The price is $7.50, which includes the
adapting of these stops to the barrel of a new
Verito or of a Verito already in use.

The manufacturers will be glad to send special
literature concerning same to all interested.

Alvin Langdon Coburn's "Vortographs" at
The Camera Club, London

Mr. George Bernard Shaw was a visitor
to the Camera Club recently, says the British
Journal, and took part in a discussion on Mr.
Alvin Langdon Coburn's "Vortographs," which
are at present on exhibition. Mr. Coburn, who
preferred to leave a veil of mystery over his
mechanism, said that the making of these pic-
tures was the most thrilling experience he had
ever had in all the realms of photography. For
over a quarter of a century he had been using
a camera in one way or another, but never had
he discovered a medium to compare with vor-
tography for producing esthetic excitement and
enjoyment. It was like reading one of the stories
of H. G. Wells. Vortography made it possible
to become abstract with the camera. No longer
was it necessary to tramp for weary miles
through muddy lanes carrying a 10x8 outfit.
You simply sat by the fire in the studio, manipu-
lated your vortoscope, and wandered at will in a
strange, unknown land of forms and patterns.
Why should photographers go on making prints
which could be catalogued as portraits, land-
scapes, and figure studies, when all the vast
country of the unknown stretched out before
them? The combination of masses was limitless;
even the same series of masses, with different
illuminations, offered a great variety to the
student of vortography. He claimed for his
new medium that it would do in photography,
in the hands of the sympathetic worker, what
Cezanne, Matisse, and others had done in paint-
ing, or Scriabine, Stravinsky, and others in
music, as against academic traditions. It
would show us big, primitive things almost for
the first time. W7hile declining for the present
to reveal his vortoscope, he declared that he was
deeply serious about vortography and its possi-
bilities.

After Mr. Ezra Pound had given a psycho-
logical or even physiological defence of vor-
ticism and cubism, and some sorts of futurism,
urging that the pleasure given by such produc-

tions was simply the pleasure of pattern, and was
referable to the fact that the retina liked not only
to be stroked or pushed by light-waves of various
colors but also to be struck by those waves in
certain arranged tracts, Mr. George Bernard
Shaw got up and proceeded, as a subsequent
speaker said, to praise the vortographs with
faint damns. Mr. Shaw confessed that he liked
Mr. Coburn's work, but he appeared to be a
little uncertain as to how far his appreciative
faculty had been seduced by the fact that the
eighteen vortographs exhibited were all of them
excellent examples of photographic printing.
Mr. Coburn was a good printer, and for his own
part he would prefer to know how he did his
printing than to hear by what system of prisms
he arranged his subjects. But still, if Mr.
Coburn had sent his negatives out to be printed,
and the result had been a series of perfectly
commonplace bromides, Mr. Shaw thought
that the arrangement of lines and masses in some
of them would continue to give him pleasure.
It was not Mr. Coburn's business to explain the
meaning of his forms and patterns. Of one thing
they might be sure: if a piece of work afforded
anyone esthetic pleasure, sooner or later some
sense would be found in it. The pleasure in
a thing was always discoverable long before the
sense. The sense of these "vortographs" has
not yet been worked out. He was content to
find a certain amount of pleasure in them, too
admit the fact, and, for the rest, to take refuge
in silence.

Other members of the club, however,, failed
to observe the rule, and let themselves go pretty
vigorously.

Pirie MacDonald Says

"Yes, I have used the Cooper Hewitt light
from the time it first came out. I used it exclu-
sively, as I prefer it to daylight in every way.
I draw these shades during the sittings, so as
to entirely eliminate daylight" (he pointed to
the ordinary opaque green shades at the several
windows in the room) : "I found long ago that I
could get all the effects with Cooper Hewitt
light that I could get with a skylight, and get
them invariably. You can see for yourself," —
and he swept with his glance the three sides of
the room which were hung with examples of those
wonderful life-like portraits that have made the
name of Pirie MacDonald known wherever
photographic art is appreciated. Following his
suggestive glance, I recognized the faces of men
prominent in their various walks of life. In each
case the portrait, like the subject, was a distinct,
impressive personality. There was no attempt
at flattery, at idealism. "But this does not pre-
clude a wide scope of artist's treatment. Here,
for example, the modelling is rugged and bold —
a vigorous lighting; while in this, the soft
gradation of half-tone is the keynote. Here is a
lighting that was once almost a fad," — indicating
a striking Rembrandt effect. — From "An Inter-
view with Pirie MacDonald" by William C.
Hubbard.

166

NOTES AND NEWS

Death of Dr. Thomas W. Smillie

Thomas William Smillie, fellow of the
Royal Photographic Society, photographer for
the National Museum, and custodian of its
section of photography, died in this city early
Wednesday morning, March 7, 1917, in his
seventy-fourth year, after a short illness.

His associates in the Smithsonian Institu-
tion and its several branches assembled at a
meeting in his memory in the National Museum
on Thursday, March 8, to record their deep
sorrow in the loss of a sincere friend and capable
and willing collaborator, and one of America's
foremost photographers.

THE LATE DR. THOMAS W. SMILLIE

Mr. Smillie was born in Edinburgh, Scotland ,
on April 14, 1843, coming to Washington with
his parents about 1848. He was the son of a
celebrated landscape gardener, and maintained,
himself, throughout his life an intense love for
flowers, trees, and nature in general.

He was educated at Georgetown University,
specializing in chemistry and medicine, but
giving up his studies at the end of two years
on account of ill health. While he received no
degree in _ either of these courses, the early
training laid a good foundation for his career as
a scientific photographer in later life.

During 1869-70 Mr. Smillie was temporarily
employed by the Smithsonian Institution, and
in June, 1871, was appointed photographer for
the National Museum, remaining at the head

of the photographic laboratory until his death.
Early in his work here he undertook the prepara-
tion of a photographic exhibit, and in 1897 was
made custodian of the collection illustrating the
history of photography.

Mr. Smillie's researches extended over nearly
every branch of photography, and he was the
author of numerous articles, two them published
by the Smithsonian. He revised and edited
The History of Discoveries in Photography, by
Robert Hunt, also published by the Institution.

In addition to his work in connection with the
National Museum, Mr. Smillie served for several
years as expert in the matter of inks for the
Post-office Department, and did a large amount
of valuable work for the Fish Commission during
its early days. Particular reference should here
be made to the enlarged photographs prepared
by him for the various fisheries exhibits.

Mr. Smillie was of the greatest assistance to
the late Secretary Langley when he first intro-
duced photographic recording with the bolo-
meter for mapping the infra-red solar spectrum,
and later when investigating the flight of soaring
birds. At the total solar eclipse of May, 1900,
Mr. Smillie had charge of all photographic
work of the Smithsonian expedition to Wades-
boro, North Carolina, and to his skill is mainly
due the attainment of successful results.

In the early days, before photography became
a popular pastime, Mr. Smillie was one of the
organizers and the head of the first amateur
photographic society in Washington. He was
the inventor of a process of photographing on
wood for engraving, and became an honorary
member of the Paris Academy of Inventions.
He was also a member of the American Associa-
tion for the Advancement of Science, the Philo-
sophical Society of Washington, and the Ameri-
can Academy of Political and Social Science.

Mr. Smillie will be remembered by all of those
with whom he had connection as a quiet, unas-
suming man, and willing and helpful to the last
degree.

Sepia Toner

Burroughs Wellcome & Co. are now
issuing a special formula under the name of
"Tabloid" Brown Toner for the purpose of
toning sepia prints on bromide or gaslight
papers to the colder, richer brown which is pre-
ferred for certain subjects. It is also suitable
for use with sepia-toned lantern slides.

The process is very simple. Take a print
or slide previously toned with the sepia toner
and immerse it in a solution of one "Tabloid"
Brown Toner in one ounce of 10 per cent, hypo
solution. The warm sepia changes first to a cold
brown and finally to a rich brown-black. Time
of immersion, two to ten minutes, according to
tone desired. After toning, wash in running
water for thirty minutes. This formula will not
tone black prints; it is for use with sepia-toned
prints only.

1 CORRESPONDENCE

Correspondents should never write on both sides of
the paper -^ No notice is taken of communications unless
the names (& addresses of the writer/ are given — **
We Snot undertake responsibility £rflie opinions expressed from correspondents

WORTH-WHILE LETTERS ON LIVE IDEAS
FROM OUR CONTRIBUTING EDITORS

A Giant Enlargement

An advertising show was held in our city from
January 31 to February 3, and we were called
upon by the largest newspaper (the Milwaukee
Journal) to make a giant newspaper to fill in
the background of their booth. Knowing that
this was the largest job of its kind ever done in
the middle west, we thought the history of its
making might be of interest to your readers.

A standard-size newspaper was submitted to
us for copy, from which we made 8x10 negatives
of the two pages. As they did not want a patched
up job, it became necessary for us to make four
enlargements, each 40 inches wide and 108
inches long. To start with, we had to have two
trays made out of one-inch lumber that were
48 inches wide and 10 feet long. These were
coated with Probus enamel to make them water-
proof and cost eighteen dollars for the two.
Two stretcher frames, 80 x 108 inches, were made
of dry kiln lumber, and were reinforced all over
with angle irons, and then finally covered with a
good grade of linen. The lumber and materials
to make the frames cost twenty-five dollars, and
the linen to cover same cost eight dollars.

These stretchers were then taken into our
enlarging room and used as backgrounds for
focussing. After the exact focus was obtained
and a correct exposure procured with numerous

test strips, we proceeded to put up our two^big
strips of paper, Eastman's Standard B. Bromide,
D. W. each 40 x 108 inches, matching them in
the center. We used a 12-inch Goerz Dagor
lens with the new Cooper Hewitt "M" shaped
tube. The final exposure was fifty-five minutes.
Each strip was developed separately in the large
trays. It took 700 ounces of developer to develop
the four big strips for the two pages. The cost
of the bromide paper alone was thirty dollars.

It took three of us twelve hours before we had
all of the enlargements in the wash-water. They
were then placed on a large strip of oil-cloth,
face down, for mounting. The paste was applied
with a paperhanger's brush, the prints were
mounted on the large stretchers to dry, and were
finally ready to be set for the exhibit.

Enclosed find two photographs of the finished
product. As far as known they are the largest
facsimile of the newspaper ever shown, and are
considered one of the greatest photographic
feats of the kind ever performed here.

If this is of interest to you or your readers you
may use same at your discretion and with the
understanding that we are to have credit Jx>r
the work.

Sincerely,
Brown & Rehbaum, Inc.

Milwaukee, Februarv 24, 1917.

( 167)

168

AMONG THE SOCIETIES

A Simple Method of Exposure Calculation

I believe that I have a system of exposure
calculation original, simple, and more com-
prehensive than any in use. I have always
depended, more or less, on the observation of
the ground-glass to determine the exposure,
but have found it rather erratic. Recently I
made an additional screen of blue and find it
a big help in determining the correct exposure.
It gives an image in blue monochrome (which the
eye easily transposes to black) by absorbing
most of the other colors making the image.
Very few persons can entirely disassociate the
charm of color from the beauty of form and
gradation, when seen on the focusing screen,
causing many disappointments. The image in
blue monochrome is undeceiving and reveals
the true photographic value. It also makes it
easier to expose, by reducing the yellows and
reds to more nearly their true luminosity as
seen by the ordinary ortho or iso plate. With a
panchromatic plate this would not hold true.
Take a dry plate, fix it thoroughly, wash well,
and dye in blue aniline dye. (The ordinary
"Diamond" dye will do.) Take care not to
make too dense or spot with undissolved dye.
A blue that will absorb about three-fourths of a
bright yellow or one-half of the red from a ruby
light is satisfactory. Now dry. Fasten to back
of ground-glass, emulsion side in, with a trace of
glue on edges.

The system of exposure calculation that follows
is original so far as I know. Take your camera
and focus on subject with lens wide open.
Next stop down until you have brightness
wanted in the finished picture or until you can
just easily see the darkest detail you want
shown. Note the stop in diaphragm and it is
your "brightness factor." Then refer to table.
Find your "brightness factor" at top of table
and in column under it will be found the exposure
for the different stops as listed at left of table.
Care and judgment are necessary in deciding
on the factor. However, if it is correct the ex-
posure will be correct under any conditions. _ The
table would need to be modified to fit density of
screen used, method of development, and style of
negative wanted.

The advantages are:

Reduction of image to monochrome.
Ease of judging brilliancy of image.
Automatic corrections for style of subject,

quality of light, time of day and year.
Corrected for scale of reproduction and for

single combinations of convertible lenses.

The disadvantage is:

There would be some difficulty when focus-
sing with a slow lens and very weak light.

It could be helped by a lighter blue screen
and a table to fit— J. M. Affleck.

^OCIETIE^

Report of Professional Photographers Society
of New York

Thirteenth Annual Convention, Hotel

McAlpin, New York City, Held

February 26, 27, 28, 1917

First Day — Morning Session

The Convention was called to order by the
President. Mr. Stromeyer was then presented.
He, on behalf of the Metropolitan Section,
tendered a hearty welcome to all our members.
The President then gave his annual address.
Reports were received from the following sections:
Southern, Rochester, Geneva and Buffalo. The
following committees were then appointed:

Committee on Resolutions: Messrs. Stromeyer,
Beach, and Smith.

Committee to select place for holding conven-
tion in 1918: Messrs. Hoyt, Lifshey, and Park.

Nomination Committee: Messrs. MacDonald,
Mock, and Hale.

Mr. Core then submitted a picture that he
had made on very short notice. He explained
the simple working of this process. A vote of
thanks was tendered Mr. Core.

Mr. Beach, at the request of the chair, told of
his visit to Milwaukee. He complained much
of the chill of Milwaukee's winter (it must have
been cold, as his home town is no winter resort.)
In due time he did thaw out, as witness his
praise of Milwaukee's chief product.

Mr. Core then started an experience meeting,
calling on different members. Mr. McFarland,
of Canandaigua, was first called. His contribu-
tion was a vertical stunt in enlarging.

Mr. Loomis, of Elmira, spoke about Tungsten
lamps.

Mr. Stone, of Hamilton, New York, spoke
on the value of coming in personal contact with
your customers.

Mr. Byron was excused from speaking, so
long as he would just smile: he bravely did his
duty.

Miss Stewart, of Canandaigua, gave advice
to the Convention, which was that all photog-
raphers attending conventions should see that
their local papers were informed of their journey
in search of new ideas.

Gustaf Loree, of Albany, spoke on the high
cost of producing photographs and the proper
pronunciation of names.

AMONG THE SOCIETIES

169

Mr. McGeorge's (Buffalo) talk was about
his noble service as usher in the Tabernacle of
Billie Sunday. He advised his hearers to follow
the energetic method of his patron saint.

Air. Smith, of Rochester, showed a very clever
idea in vignetting for gaslight papers.

Mr. Boice, White Plains, closed the morning
session.

Recess until 2 p.m.

Afternoon Session

Miss Gerhart, on salesmanship, gave a very
interesting and instructive talk. It was received
with a great deal of favor and much applause.

Mr. Core then followed with the second
edition of his experience meeting. His first
victim was Mr. Zackaries, from far off New
Zealand. He spoke of his country and its lack
of photographic societies, and his hope on his
return home of being able to instil into the minds
of his fellow-craftsmen the American idea of
"help one another."

Mr. Crawford, of Hamilton, Canada, spoke of
the great work being done by the Dominion
during this crisis in the history of his country.

Mr. Cunningham, also of Hamilton, favored
bi-focal at the top, and rightly said our attend-
ance was much too small.

Miss Surdame, of Toronto, in a very concise
talk showed that good work could be done in a
department store if you have the proper system.

Mr. Buxbaum gave a demonstration of his
Dore-type. He told of his method of toning
and backing. Mr. J. C. Abel verified the state-
ments of Mr. Buxbaum. An adjournment of
ten minutes was then taken to properly view
the very fine exhibit of Dore-types by Mr.
Buxbaum.

Mr. Parke, secretary of the Mohawk Society,
gave many short cuts and formulas that should
prove to be of great value to his hearers; even a
hot poker has a photographic value.

Mr. MacDonald then introduced Mr. Mason,
of Roosevelt Hospital, as the oldest photographer
still in active harness. Mr. Mason had on exhibi-
tion several prints showing his many inventions,
all of them in daily use by him.

Mr. Xotzel, of Newton Centre, was called on
for a few words.

Mr. Leatherdale, of Toronto, Canada, spoke
of the great value of cooperative advertising and
the good result it has brought to the Toronto
photographers.

Mr. O. Shaw, of Meridan, Conn., gave a few
hard raps at the folly of selling tickets.

Mr. Spellman, of Detroit, spoke about the
value of changing his display every other week.
He has found it of great value.

Mr. Mock gave expert testimony of the value
of fires. From his statement it would appear
that Mr. Mock has been fully informed on the
prevailing war prices of chemicals, metol in
particular.

Adjourned at 4.45.

Second Day — Morning Session

This was the big day of the Convention,
given up entirely to demonstration and talk.
At no time in the history of the Society have
they ever been equalled.

The first demonstration was made by Miss
May L. Smith, of Binghamton. She showed
how she obtains the charming results so well
represented in her exhibit at this convention.
She further illustrated her talk by photographs.

Then came Clarence White, in a plea for the
sincerity of your daily work, in a talk both gay
and serious, often brilliant. He traced his
struggle for recognition in his chosen field of
pictorial photography. From a clerk in a country
grocery to a lecturer at Columbia University
is a jump that was not done in a day. What a
calamity to the photographic world had that
sentence of death passed upon him by Todd,
Benjamin, and Ingles, at Cincinnati, been carried
out; he got away, hugging his gold medal. At
the conclusion of his lecture he passed around
the negatives from which his exhibit was made.

Recess until 2.30.

The luncheon at Murray's for the ladies was,
I am told, a real love-feast. It was up to the
standard of that famous house and forty ladies
were present.

Afternoon Session ,

Dudley Hoyt came first. His demonstration
of posing and lighting was up to the high mark
set by him in all his work. No higher tribute
could be paid to anyone than the sincere atten-
tion given his demonstration by the members.

Then came Miss E. Gerhard, of St. Louis, in a
demonstration of what to do with a woman's
hair — a field that very few men will ever dare to
enter. In her talk she carried her audience to
her studio and pointed out the location of dif-
ferent lights and her method of using them.
Her analysis of her sitters and the smile that
ever greets you when you reach her threshold
made it easy to understand why the Gerhard
sisters have found a place in the sun.

Then a little blarney from out of Bridgeport,
Mr. J. P. Haley, the father of that talented young
man whose work has received such high praise
at this Convention.

Mr. Mock then took the platform to explain
that his exhibit was made for fun, not to sell.
He had all the fun, as we all thought he was
serious when he made them. All great men will
have their little jokes. Yet a little further on in
his talk he said that he doubted if ever a photog-
rapher could become a first-class faker. Then
by the aid of a green tube of light and a model
he made atonement by showing us his very, very
best little line of light, shade, composition and
exit.

System was Pirie MacDonald 's theme. I
won't try to report him. Just a few epigrams
that linger in memory:

"The value of a full stomach is far greater
than any art."

"If you want to succeed, don't flirt with a
brewery."

"Don't work any more than you have to."

"Fill your appointment book "for two weeks
with names, then retire to a rear room and
await results."

"If you want people to be confident of you,
be confident of yourself."

"The real way to get rich, is to be poor,"

Recess until dinner at 7.30.

170

AMONG THE SOCIETIES

A goodly number came to the annual banquet
in the ballroom of the McAlpin. That versatile
young man, P. Core, gave an astounding exhibi-
tion of thought transfer ; his ability to concentrate
on Philadelphia was startling.

The prize to the lucky lady went to Miss E.
Gerhard, of St. Louis. The prize was a silver
dish that could be used for either cheese or
bonbons.

The lucky gent was Mr. Zackaries, of New
Zealand. To his prohibition country he will
take home with him a splendid example of an
American corkscrew. May it here be recorded,
that Mr. Zackaries more than repaid the Society's
investment by the laughter he produced in his
mirth-provoking impersonation of an amateur
actor with a wooden arm.

A few short speeches by the big guns, and
dancing until one, brought the end of a perfect
day.

Third Day's Session

Mr. Frank H. Cole, of Asbury Park, gave a
most instructive talk on efficiency, using as
an illustration his wonderful plant for kodak
finishing.

W. B. Poynter, of Cincinnati, then demon-
strated a flash-lamp of his own invention. The
resulting negatives were of a very high order.
His ability to make children's pictures was even
better than his light.

Then came Pop Core at his very best, for to
him was given the pleasant duty of presenting
to a highly efficient officer a testimonial of the
Society's esteem.

To the retiring President was given a very
handsome Howard watch with chain. The
President almost responded. The surprise was
too great; words he could not find; so he said,
"thanks."

The newly elected officers are:

President, F. E. Abbott, Little Falls; Vice-
president, J. E. Mock, Rochester; Secretary,
E. U. Smith, Honeoye Falls; Treasurer, Edwin
Park, Oneida.

Place of next convention, Utica.

Charles Hallen, Secy.

Minutes of the Meeting of the Federal Photo-
graphic Society, held in the New National
Museum, Friday Evening, March 16, 191 7

Meeting called to order by President pro tern,
Mr. Ludwig.

Resolutions expressing the regret of the Society
on the loss of our late Honorary President, Dr.
Thomas W. Smillie, were read by Dr. L. W.
Beeson. Motion made by Mr. Williams, and
duly carried, that the resolutions be adopted
as read and that copies be sent to the late Dr.
Smillie's sister, Miss Lydia Smillie, 1808 R.
Street, N. W., the Smithsonian Institution, the
photographic press, the local press, and copies
be spread upon the minutes of the meeting.

Mr. Williams then made a few remarks on
his association with Dr. Smillie. He referred to

Dr. Smillie as being one of the first, if not the
first, to make a telephoto photograph in this
country, the photograph being one of the
statue on the dome of the Capitol. Samples
of a process invented by Dr. Smillie for making
photographs on wood for the purpose of engrav-
ing were passed to the members present for
examination. A water-proofing process which
was worked out by him was briefly referred to.

Mr. Stenhouse, of the National Museum,
handed to the secretary the following list of
fellowships and diplomas which Dr. Smillie held
and the societies of which he was a member:
First and only Honorary President of the Federal
Photographic Society of America; Fellow of the
Royal Photographic Society of Great Britain;
diploma of honorable mention as a designer
from the Columbia Exposition; elected to
membership in the Academie Nationale, 1889;
diploma of honorable mention from the Cotton
States and International Exposition; diploma
for photographs of sections of wood from Expo-
sition Universelle de Paris, 1889; medal of third
class, Academie Nationale, 1890; diploma,
Agricultural and International Fishery, 1898, at
Bergen, Norway; grand medal of gold from the
Academie Parisienne des Inventions, 1893;
commemorative medal from the Jamestown
Exposition. Mr. E. J. Pullman, Mr E. L.
Crandall, and Dr. L. W. Beeson then made a
few remarks regarding their association with
Dr. Smillie.

Mr. Beeson and Mr. Crandall were appointed
by the chair to arrange for papers to be read by
the members at the April 5th meeting.

A letter from Mr. Harry Fincke, of the
Eastman Kodak Co., relative to a proposed
lecture on lenses, was read by the president and
duly referred to the board of directors.

Mr. Crandall was asked to take the chair pro
tern by Mr. Williams.

Motion made and duly carried that Mr.
Anthony Ludwig preside as president to fill out
the unexpired term of Mr. Herford T. Cowling,
resigned, as Mr. Linsenmeyer, the vice-president,
could not act.

Mr. Beeson, who has been preparing Civil
Service Examinations for photographers for some
time, then gave a short talk on the preparation
of examinations. A general discussion of the
subject followed.

A motion was made and duly carried that
the Federal Photographic Society offer their
assistance to the Secretary of War and the
Secretary of the Navy. The corresponding
secretary was instructed to write to the Secre-
tary of War and the Secretary of the Navy offer-
ing the assistance of the Society.

Motion made and duly carried that the cor-
responding secretary be authorized to purchase
such books as are necessary to keep the records
of the Society.

Motion made and duly carried to adjourn.
R. C. Traver,

Secretary, pro tern.

THE WORKROOM

By tde JJeatT Operator

When is a Plate Fixed?

The Retouching Treatment of Copy Negatives

Gelatin and Moisture: A Note on Silver Spots

Long Focus Lenses

Glazing Prints by Stripping

A Photographic Ink

Sorting and Storing Bottles for Photographic

Work
Removing Films from Spoilt Plates
The Speed of Lenses
Toning from Blue-prints

When is a Plate Fixed ?

Every once and awhile we see appearing in
our journals, among other stock articles, para-
graphs on the use of two fixing baths, also stating
that when a plate is immersed in hypo the silver
is first changed to hyposulphite of silver and
sodium, which double salt, while it is trans-
parent, and gives to the plate a transparent
instead of a white appearance, still is insoluble
in water; and further, that if the plate is taken
out of the fixing bath the moment it clears, it
will never be free from silver, and that no amount
of washing will make it safe. Also that this
double salt is soluble in hypo; so it is only neces-
sary to leave it in the fixing bath long enough to
effect the solution of this salt; and then comes
the proposed use of this second bath, which is
used to effect this latter reaction.

The above is perfectly familiar to all readers
of our photographic literature. It is copied from
one magazine to another, so it is hard to escape
it. In regard to the use of two baths, we would
say that if the first bath is fit to use at all, then
it is good for both purposes. If not strong enough
to dissolve the double salt, then it is not good to
use for any purpose. The use of two baths
reminds us much of the man who, having two
dogs, cut two holes in his barn door; a large one
for the big dog and a small one for the little dog.
The usual advice giving for fixing is to leave the
plate in the hyposulphite of soda five or ten
minutes after it is cleared, but no definite state-
ment of time seems to be known. The following
experiments were carried out for this purpose:

In order to have uniform results, but one kind
of plate was used, which happened to be Seed's
26x, probably an average plate. The hypo
solution was made with one part of the crystals
in four parts water, and a transparent glass
upright fixing bath was used, to obtain exact
time of reaction.

With four plates which had not been exposed
or developed, and were put into the hypo with
dry films, it took five and one-half to six and one-
half minutes, an average of six minutes, at which
time the plates were perfectly transparent, and

On the Fading of Photographs

On Making the Best of Every Negative

Some Notes on the Use of Hydroquinone

A Compound Fixing-bath for Delicate Negatives

The Choice of a Color for Prints

Mounting with Adhesive Applied only to the

Edges
Cleanliness

Blisters in Carbon Process
Controlling Bromide Prints
The Optical Properties of Light Filters

each one was transferred to running water as
soon as cleared. With plates that had been in the
developer, or had been soaked in pure water, it
took just one minute longer to clear the plate.
This gives an average of seven minutes for fixing
plate sufficiently to make it transparent. Ther-
mometer was 65° — and the temperature makes
considerable difference; also the make of the
plate has much to do with the time of fixing.

The following experiments were undertaken
solely to find out how long it took the hypo-
sulphite of silver and sodium to dissolve, and
we must say that the results were not what
would have been expected from the conventional
statements:

Two plates of the four above mentioned were
washed in an upright bath for ten minutes, in a
strong current of water, and then tested. A
silver reaction was at once given, just as we would
have supposed; but when the other two plates
had been washed for two hours, the result was
not as we should have expected.

These latter plates, which were taken from the
hypo at the moment of clearing, and had simply
been washed two hours, were tested for silver;
one plate by the sulphide test and the other plate
by removing the wet film, incinerating it, reduc-
ing in a porcelain crucible and testing the resi-
due for silver, one process being a check on the
other. To our surprise, we found these two
plates were perfectly free from silver. Then this
latter experiment was repeated, giving the same
result, and showing that when a plate is perfectly
cleared and washed sufficiently long no silver
remains in the film.

Now there is no doubt that silver and hypo
will form under the right conditions a hypo-
sulphite of silver and sodium — in fact, it forms
two salts of this name, one of which is insoluble
and the other is soluble. The first can be
obtained by adding silver nitrate to hypo solu-
tion; the second must be obtained by removing
the insoluble salt and precipitating with alcohol.

This first reaction we can see here; the latter
is of no particular interest in this connection.
To illustrate the formation and reaction of these
two double salts we will form and dissolve them

(171)

172

THE WORKROOM

here. In this glass we have a strong solution of
hypo, sufficiently strong to readily dissolve the
hyposulphite of silver and sodium as soon as
formed. In another beaker we have a solution
of silver nitrate, which we add to the hypo-
sulphite of sodium. You observe a white
precipitate forms, which at once dissolves.
This precipitate is a soluble hyposulphite of
silver and sodium, and shows clearly that it
dissolves instantly and completely in the reagent
that precipitated it.

We now dilute the hypo to a weak solution and
add the silver again. This time you observe that
the precipitate does not dissolve, but quickly
turns black, owing to the formation of a sulphide.

Why did we not find silver in the films that
were withdrawn from the bath at the moment
of clearing? Supposing a double salt has formed,
and even supposing it has not dissolved while
in the fixing bath, you must still remember that
the film is saturated with hypo, and that this is
not removed completely for a long time while
being washed, which would easily account for
the silver being entirely dissolved before the
plate is removed from the washing water.

But the truth of this matter is, that if a strong
solution of hypo is used there is no double salt
formed that is not readily soluble; but where a
very weak fixing bath is used there may be
danger of the hypo not being in sufficient excess
to properly dissolve the silver, and in that case
an insoluble salt would form.

The Retouching Treatment of Copy Negatives

Probably one of the most noticeable effects
of the war on photography from the retoucher's
point of view is the number of copy negatives
she gets to work up. At this time there are an
enormous number of copies being made, and there
is likely to be an increase of number the longer
the war lasts. A retoucher, therefore, who can
treat these copies skilfully, so as to obtain the
best possible result, will be of inestimable value
to her employer, and thereby strengthen her own
position.

First, let the retoucher see to it that she has the
original to work from and thoroughly understands
what is required, as a negative for enlargement is
treated somewhat differently from one for
contact printing, and again, it is not always
advisable to spend as much time on a cheap copy,
say for a few postcards, as on one from which a
good order is to be printed. Excellent work is
valued, but in this day of short staffs the best
work in the minimum time is invaluable.

The first thing, then, to consider, is the face,
and to avoid the usual fault of taking out the
likeness. Study your original closely and decide
which lines and shadows are essential and which
are undesirable or the blemishes of wear and
time. It is generally best to leave the lines and
features entirely alone and model the skin only
with a strict observance to the small shadows,
being careful to leave these, or even to accentuate
in a faded copy. The skin should be given a
fine stipple and any grain worked out. The hair
may also be lightened a little, but it must always
be remembered that it is a faithful copy of the
original that is required, with the addition of

any modern improvement that will add to the
attractiveness of the picture without taking from
the likeness. Next the figure and background
should be carefully looked over and spotted and
stippled where required.

So much for a straightforward copy; but very
often a figure or head is required from a group,
and then more special treatment is necessary
as to the arrangement of the background.

Work up your head and figure in the way
already described, then refer to your original and
plan out your background. We will assume
first that we have a full-length figure of a man
standing among his companions with one arm
partly hidden by one of them and the general
appearance of the surrounding objects dark.
First, with your pencil draw in the outline of the
missing piece of arm, being careful to get your
drawing correct. If necessary, take a studio
portrait of as near the pose as possible for a copy.
Then, with pencil, brush, and knife, make up the
missing piece so as to print out as true as possible.

Then proceed to block away the background as
follows: Varnish your negative with a good
pointed sable brush ("any old brush" will not
do) and some reliable opaque, follow the figure
very carefully and correctly from the collar to
about the knee on the side of your right hand,
over the varnish. Now, as to feet, these are most
difficult, and if blocking can be substituted by
vignetting (in a fairly light ground surrounding
the feet) stop here and carry your blocking in a
straight line to the right edge of the negative.
If the feet must be blocked continue your careful
thin line right round the outline of them, turning
the negative as you go, and down the other side
of the figure as far as the collar. If any part of
the face is to be blocked, do this also over the
varnish, but the hair and any soft ornament of
the dress, such as a sporran or busby, or fur
muff, should be treated from the glass side, thus
giving a diffused, soft outline, which adds
greatly to the correct effect. The blocking is
now filled in in the ordinary way, and an air-
brush or sketch background on the print pro-
duces a pleasing and high-class result.

Should the figure be standing against light
objects or the outline be diffused or out of focus,
then the best result is obtained by blocking on
the glass side, which may be done over matt
varnish if desired. But in all cases the line must
be correct and clean, or the result must be unsatis-
factory.

Do not attempt these delicate achievements
while the drymounter, guillotine, or other noisy,
vibrating apparatus, is being used at close
quarters, for, as the writer knows, the best
results are got in a quiet room where the attention
in undivided.

Now should a light finish be undesirable, as
attained by blocking and vignetting, the exact
size of the required print should be obtained and
a mask cut to size. Place the mask over the
negative and with pencil and brush stipple your
background to as near a uniform depths as
possible, and take down high-lights with the
knife, disguising the surrounding figures as much
as possible. For instance, we will suppose we
have to take a soldier from a group. He is on the
top line, and we could get a good half-length of

THE WORKROOM

173

him but for a comrade's head, which obscures
his belt and the lower part of his tunic. First,
with your pencil, sketch out where the belt,
buttons, etc., would come behind the head,
stipple out the dark hair, eyes, brows, etc., and
knife away the face, remembering always the
belt, etc., which have to be modelled in at the
same time.

For enlarging, knifing should not be attempted
by a beginner, but only by a skilled retoucher, as
the slightest chipping will have a bad result.
Also less diffusion must be allowed for when
working on the glass side.

The writer has from time to time turned a
lady from a group of two into a curtain, a cake of
soap into a shell, a hand on a child's head into a
hair ribbon, etc. And it is surprising how very
easily and quickly this work is thought out and
accomplished when a good assistant's interests
are with her employer, and how pleasing the
work becomes when the employer's appreciation
is not concealed from the employee, but is justly
expressed. — W. Cheshire, in British Journal
of Photography.

Gelatin and Moisture: A Note on Silver Spots

Everyone knows that when an unvarnished
negative is printed on P. O. P., and any moisture
has access to the film, soluble salts of silver are
transferred from the P. O. P. to the negative and
give rise to opaque spots, usually called "silver
spots," which are very hard to remove without
injury to the image. But while this is recognized,
the fact is often overlooked that rain or some
other actual wetting is not at all necessary to
produce them. Gelatin is a substance which
has a great attraction for moisture, so much so
that some moisture is almost always present in
it, do what we will. Fortunately this minimum
quantity is not enough to do harm. But in
order to make sure that it is a minimum or
sometimes approaching it, either the negative
must be dried, or it must at least have been kept
in some place that was reasonably dry. If the
negative has been exposed to a damp atmosphere
for a little while, such as is sure to be found in
a room with an open wet sink, the gelatin will
absorb an appreciable quantity of moisture;
in fact, if the negative is weighed on a good
balance and then made quite hot for a few
minutes and weighed again, the loss of weight,
due to water driven off, can be made visible.
So that it is not enough to put the printing frame
where it will not get wet. In damp weather, or
where the negatives have been kept in a place
not perfectly dry, it is a wise precaution to
warm them before putting them in the printing
frame. If the pads of the back of the frame are
also warmed, should there be any suspicion of
damp, there is not much risk of the stains
arising, unless the paper is left in the printing
frame all night — always a risky proceeding. —
Photography.

image of an object on the focussing-screen or
plate varies according to the focus of the lens
that is used. If, then, we use a five-inch lens
from such a standpoint that some near object —
say, a figure — is an inch high, we can get that
figure still an inch high by going twice as far
from it and using a ten-inch lens. But this
difference of standpoint, although it has had so
much effect on the near object that by using a
lens of twice the focus we still only get the figure
the same size as before, will be too trifling
compared with the distance of a really distant
object to make an appreciable difference, so that,
as far as the distant object is concerned, the use
of the ten-inch in place of the five-inch lens has
doubled its size. The effect of moving further off
and using a long-focus lens has, therefore, been
to double the size of the distant objects while
rendering near objects no larger than before.
For pictorial work a long-focus lens is nearly
always of very great advantage.

Long Focus Lenses

It is often said that photography dwarfs the
distance. This is remedied (says a writer in
Photography and Focus) to a great extent by the
use of a lens of longer focus. The size of the

Glazing Prints by Stripping

The method of producing a highly glossy sur-
face by stripping off prints from a polished sup-
port applies to prints made on a gelatin paper,
that is to say, to P. O. P., bromide, and gaslight.
Prints on a collodion paper, such as many of the
brands of self-toning paper upon the market,
may, by a suitable modification of the process,
be glazed by the stripping method, but in this
article I shall neglect the collodion papers for the
reason that the bulk of glossy prints produced
commercially are made on a gelatin paper. Col-
lodion P. O. P. or self-toning paper is almost
always used for the sake of the fine natural sur-
face of the paper; there is no inducement to use
it for glossy prints when this effect may be ob-
tained more readily and cheaply on gelatin paper.

Hardening the Surfaces of Prints. — One half of
the difficulties which are met with in stripping
prints is occasioned by the want of sufficient hard-
ness of the gelatin surface. Now that glazing
by stripping is a process which is so widely used,
many papers, chiefly of the bromide and gaslight
varieties, are manufactured with a specially
hardened emulsion. Prints on such papers call
for no special treatment with a view to easy
stripping. On the other hand, many P. O. P.'s
and numerous brands of bromide and gaslight
require attention in regard to this point, particu-
larly in hot weather, when the gelatin coating is
liable to become more than normally softened in
the washing baths. One method of hardening
prints is to let them become thoroughly dry after
the final washing for removal of hypo. They are
again soaked in water for a few minutes before
laying them down on the glazing plates. But
this is a time-wasting method which usually
cannot be employed when working upon a con-
siderable scale. It is necessary to make the
prints ready for squeegeeing to the glazing plates
immediately they are washed free from hypo.
Where hardening is necessary, the usual plan is to
treat them, for about ten minutes, in 5 per cent,
alum solution (1 ounce of alum and 20 ounces of
water), or in a bath of formalin of strength of
from 10 to 5 per cent., that is to say, 1 ounce
of formalin, as purchased, in 10 to 20 ounces of

174

THE WORKROOM

water. The cheaper alum bath is actually pre-
ferable when working in quantity, since the vapor
given off by formalin baths in constant use is apt
to prove irritating, if not injurious to the nasal
organs. It is, however, not difficult to arrange
for the bath to be placed where the vapors from
it are carried off into the outer air. In the case
of alum it is important to use a pure material;
much cheap alum is contaminated _ with iron.
Such alum is liable to act quite positively as a
reducer of P. O. P. prints; also, there is the dan-
ger of irregular blue stains on bromide or gaslight
prints which have been sulphide-toned. Per-
haps, in the case of development papers (bromide
and gaslight), as good a plan as any is to do the
hardening at the same time as fixing. The bath
for this purpose is made up with chrome alum,
soda sulphite, and sulphuric acid, in addition to
the hypo. I gave the formula for this in a pre-
vious article (British Journal of Photography,
January 3 last), but may repeat it here:

Soda sulphite, crystals. . . 2 oz.
Water 6 oz.

This solution may be made with aid of heat, but
sulphite dissolves best at a temperature of about
100° F. When dissolved add the following mix-
ture, which should be prepared by adding the
acid to the water, not vice versa, and leaving to
cool:

Strong sulphuric acid . . 2 fl. drams
Water 2 oz.

This mixture of acid and sulphite is then
poured into a solution of:

Hypo 16 oz.

Water . . . . . . . 48 oz.

and addition finally made of:

Chrome alum ..... 1 oz.
Water 8 oz.

This gives a fixer containing 4 ounces hypo in
20 ounces. It is suitable strength for bromide
and gaslight papers, but I should prefer the plain
alum bath after fixing in the case of P. O. P.

Materials on which to Squeegee. — The materials
with which to produce a glazed surface are glass,
enamelled ferrotype plate, and celluloid. Of
these there is no doubt that glass gives the finest
gloss, while, short of occasional breakage, the
glass plates may be kept in use for years without
replacement. Both ferrotype and celluloid give
a high gloss, and have the advantage — which
may be great in certain circumstances — of light-
ness. A large number of ferrotype or celluloid
plates bearing prints may be hung up from lines
or light laths quite easily, whereas, in the case of
glass plates, a much more substantially built rack
or staging would be necessary. Thus, in the case
of a large batch of glazed prints being undertaken
in a business which was not regularly doing such
work, ferrotype or celluloid would probably be
found to lend itself more readily to the job than
glass. The ferrotype plates may now be ob-
tained of large size and enamelled on both sur-
faces. Celluloid sheets are sold chiefly in the
form of the well-known "squeegee pads" of the
Altrincham Rubber Company. Each sheet of

celluloid is sandwiched between a pair of thin
rubber sheets, which serve as a protection of the
prints when the latter are being squeegeed down,
and also provide a ready means of suspension of
the celluloid when hanging up to dry.

Preparing the Surface. — The first essential to
ready stripping of the prints is perfect cleanliness
of the glass or other plates. When taking glass
plates into use it is well to let them pickle in a
mixture of about three or four parts of water with
one part of strong nitric acid. They are then
well flushed with water, given a scrub over with
hot soda solution, again rinsed, and may then be
taken to be as clean for the purpose as they can
be made. Celluloid or ferrotype plates must not,
of course, be treated in this way, but such pre-
liminary cleansing is not necessary, the plates
being suitable for use after the final preparation
to be now described.

The plates, of whatever kind, now require to
be cleaned and polished. The polishing materials
generally used are either French chalk or a solu-
tion of wax. French chalk is the older method,
but one still adhered to by many photographers.
A little is dusted over the plate, well rubbed over
the whole surface, and then lightly dusted off
again with a clean duster, which, as it picks up
French chalk in use, is relegated to the first duty
of applying the chalk and a clean duster taken
into use for the dusting off. The alternative
cleaning preparation is a solution, such as bees-
wax, 20 grains, in turpentine, 1 ounce; or sper-
maceti wax dissolved, in the same proportion, in
benzole. This is rubbed over the plate with a
piece of flannel, and polishing then done with a
soft silk duster or a piece of chamois.

Some workers prefer to place the polished plate
under water when placing the prints upon it, but
there is no real necessity to do so, so long as air
bells between print and glass are thoroughly ex-
pelled by the use of a squeegee, which will give
a firm and even pressure. The squeegee may be
of either the roller or bar variety, but whichever
it is it should be of ample size and of good quality
resilient rubber. Perished rubber will fail to
make the necessary contact, and, moreover, will
tear the prints.

Drying the Squeegeed Prints. — So long as the
prints are not exposed to a temperature which
causes the gelatin coating actually to soften, the
more quickly they dry the better for readiness of
stripping. On the commercial scale, where work
has to be got out in the minimum of time, it is
customary to provide a drying cupboard fitted
with racks to take the glass plates, and provided
with an artificial draught of warmed air. An
average time for the drying of a whole batch of
prints on their glasses in such a cupboard will be
from half an hour to three-quarters. In default
of a special drying cupboard, prints are placed in
a well-ventilated room, in which they will dry, as
a rule, within a few hours. With proper pre-
paration both of prints and glasses the glazed
prints should drop off at a touch, or at any rate
should require only the slightest pull to remove
them from the plates.

Glazing Solutions. — Of late years a much more
rapid and, at the same time, highly labor-saving
method of glazing prints has come into use by the
introduction of special solutions into which the

THE WORKROOM

175

prints are simply immersed for a few minutes on
removal from the wash water, and are then laid
down immediately and squeegeed to the glasses
or ferrotypes. Several brands of this form of
preparation are on the market, and the method is
certainly most valuable to workers on both a large
and small scale.

Matting Prints by Squeegeeing. — Although the
chief purpose of the squeegee and stripping
method is for the glazing of prints, it may be used
in precisely the same way for producing a matt
surface on prints made on glossy paper, employ-
ing as the temporary support for the prints
either ground glass or matt celluloid. Some
amateur workers have preferred the matt ob-
tained in this way to that produced on a matt
paper, but, personally, I think there is nothing
in it. If I were required to produce a batch of
matt-surface prints I should think I was wasting
my time by using the method while the choice
of almost endless degrees of mattness in com-
mercial papers is now available. — British Journal
of Photography.

A Photographic Ink

A good reliable ink for writing on photographs,
which may interest some readers, can be made up
with the following chemicals, thus:

Potassium iodide .... 10 parts

Iodine 1 part

Gum arabic 1 part

Water 30 parts

The resulting ink will produce white lines on the
background of the photograph.

Sorting and Storing Bottles for Photographic
Work

The photographer who is also a practical
economist will find it a good plan to carefully
examine all bottles which pass through his
hands, and to keep all that are likely to be of
any service in connection with his photographic
activities. The bottles to be kept should be
thoroughly cleansed, dried, and then classified
according to shape and size. Bottles having
comparatively wide open tops, and varying in
capacity from 1 to -4 ounces, are particularly
useful for chemicals in the form of crystals or
powder. Small bottles with narrow necks are
worth saving for small quantities of solution;
they can also be converted very easily into
"drip" bottles — a valuable adjunct to any
dark-room equipment. Special bottles of green
or blue glass, and either hexagonal or octagonal
in shape, should be reserved for acids and for
solutions of a poisonous character. The go-
ahead camera man of the present day often
needs to purchase comparatively small quan-
tities of chemicals, either for experimental
purposes or for special work. In such cir-
cumstances a good stock of clean, ready for
service bottles, from which one of the exact
size required can be instantly selected, will not
only prove to be a source of gratification to the
owner (by preventing confusion and loss of
time), but will also save the twopence, three-
pence, or fourpence — as the case may be —
which the photographic dealer, in view of the

prevailing restricted output of all kinds of
glassware, will be well justified in charging.
For a long time past it has been the practice
in the writer's household, before any bottle, jar,
or other receptacle has been finally disposed of
as apparently of no further value, to submit
it to him, with the question, "Is this of any
use to you for your photographic work?" The
practical value of this simple domestic courtesy
has been amply confirmed in practice, and the
plan is accordingly commended with confidence
to the attention of other workers. — Amateur
Photographer.

Removing Films from Spoilt Plates

It is often required to remove films from
spoilt plates for printing from roll-film nega-
tives, trimming prints, cover glasses for slides,
passe-partout, and other purposes when it is
necessary that the glass should be quite free
from scratches. It will be found that if the
spoilt negative is taken from the fixing bath,
and put straight aside to dry without any
washing, when dry the film may be easily
stripped from the glass by one corner. Old
negatives may be given a hypo bath, and
treated in this way with the same result. The
above, though simple, is quite effective, and
is one of the easiest ways of doing this job, and
certainly has economy in the materials required
to commend it. — Amateur Photographer.

The Speed of Lenses

J74.5
J74.5
jf/4.5

y/4.5

//4.5

/M.8
//4.8
//4.8
//4.8
//5.0
//5.0
f/6.3
jf/6.3
f/7.5

1.137
1.234
1.548
1.960
2.777
1.085
1.361
1.723
2.441
1.587
2.250
1.417
1.613
s 2.230

times
times
times
times
times
times
times
times
times
times
times
times
times
times

faster
faster
faster
faster
faster
faster
faster
faster
faster
faster
faster
faster
faster
faster

than// 4.8
than// 5.0
than// 5.6
than// 6.3
than// 7.5
than// 5.0
than// 5.6
than// 6.3
than// 7.5
than// 6.3
than// 7.5
than// 7.5
than// 8.0
than//11.2

By carefully working this out, you will be
able to find the speed of the lens which you are
using, and how the speed of one compares with
another. Better keep this; it will be worth
something to you some time. — From Ansco Co.

Toning from Blue-prints

According to Th. Sommer, if a platinum-
black tone is desired, the print is bleached in
the following freshly prepared and filtered bath:

Water . . . .350 c.c. 10 oz.

Borax .... 8 gm. 120 gr.

Ammonia (stronger) 8 c.c. | oz.

Then place it in a saturated solution of gallic
acid until the desired tone is obtained. Wash
again and dry.

For violet-black tones the blue print is first

176

THE WORKROOM

2 OZ.

h oz.

treated with a 5 per cent, solution of borax and
then placed in

Water .... 500 c.c. 1 pint

Tannin . . . . 15 gr.

Gallic acid . . . 15 gr.

For sepia the following is used :

Water . . . .100 c.c. 3 oz.

Tannin .... 4 gm. 60 gr.

Hydrochloric acid . 8 drops 8 drops

For use, this solution is diluted to 1 part to
50 of water, and the print is immersed in it
from one to five minutes; it is then washed and
placed in a 5 per cent, solution of potassium
carbonate until the desired tone is reached. —
Photo-Welt.

On the Fading of Photographs

The cause of fading in photographic prints
can be traced to a number of sources, one well-
known source being the imperfect elimination of
the fixing agent in the case of silver prints. Hypo-
sulphite of soda as a salt is very soluble in water
in almost any proportion, moderate washing of
the prints in several changes of water will rid the
prints of this salt; but the chemical that is
formed by the hyposulphite of soda acting upon
the organic compounds of silver is not got rid of
so easiy. This salt is the hyposulphite of silver.
This product is easily decomposed by the action
of light; it possesses a sweet taste; and if
allowed to remain within the body of the paper
it will soon cause the rapid fading of the print.

It is this salt that gives the greatest trouble
to eliminate. Prolonged washing, especially by
changing the prints from tray to tray of clean
water, is the surest way to get rid of this danger-
ous element.

The use of a weak bath of common alum has
often been suggested as a remedy to counteract
this chemical, but the remedy in this case is
worse than the disease, because an element is
introduced of an acid nature that will assuredly
cause fading, especially with gelatin emulsion
papers. The after washing of any such print
must be increased by many more changes; even
then they are not reliable.

Many thousands of beautiful prints have been
ruined, and quick fading set in, by the use of
cardboard mounts that have contained traces of
hyposulphite of soda, this latter material being
largely used by paper manufacturers as an
antichlor, as it is termed; that is, to correct
the effects of chlorine and its compounds in the
bleaching process. Although considerable atten-
tion has been given to the production of pure
cardboard for photographic purposes there is a
very large quantity employed for photographic
mounts that is as impure as it is possible for a
cardboard to be. This is brought about by the
low prices in competition, particularly in the pro-
duction of enlargements. The larger the prints
the more common and impure the cardboard
appears to be. Upon testing the water in which
strips of this cardboard have been allowed to
soak, hyposulphite of soda can be detected
readily. It will not matter how much the prints
may be washed previous to mounting when the
cardboard mount contains such injurious im-

purities, there will be left no chance or condition
for the lasting of a photographic print. Even
the whites of a perfectly produced platinum
print will soon become yellow, and although the
print itself does not fade, the print as a picture
will become ruined and unfit for exhibition.

A very unusual and unaccountable fading of
a photographic print that the writer experienced
five years ago was in the case of a burnt-in photo-
graph upon a porcelain plaque. The print was
made upon a collodion film prepared upon paper,
with a chlorocitrate of silver emulsion, the print
was carried to a considerable depth and toned in
a solution of chloro-platinite of potassium, in
combination with potassium oxalate, slightly
acidulated with citric acid. The print was made
from a good negative of a child. When the
toning was complete the image was fixed in a
solution of hyposulphite of soda and thoroughly
well washed, and the film removed from the
paper by a bath of hot water. It was then
floated upon the porcelain and adjusted in
position and dried. The process of burning-in
took place, the image was covered with enamel,
and, although it was a little weak, it presented a
fine appearance. In the course of a few days the
image seemed to be disappearing. This was
thought to be imaginary. Such, however, was
not the case. For at the end of fourteen days
the portrait had entirely disappeared, leaving
nothing but a block of pure white enamelled
porcelain. Whatever may have been the true
cause of this strange and unusual phenomenon,
no attempt was made a second time to carry out
the platinum toning of the image with the acid
oxalate solution. A collodion transparency,
made upon glass and perfectly toned in a solution
of chloride of platinum, acidulated with a few
drops of sulphuric acid, is one of the very best
means for producing a photograph for burning-in
with a certainty of no fear of fading.

Atmospheric conditions will affect a photo-
graph if exposed long to its action. Many
specimens that are exposed in the showcases of
photographers are examples of this. The prints
that show the least action in this direction are
those made in carbon. Any trace of sulphur in
the atmosphere will affect any print that has
been made with the salts of silver, no matter
how minute the fumes may be, either of sulphur
dioxide or sulphuretted hydrogen. These gases
will attack the ordinary photograph and cause a
yellowing all over the print. The action once
set up continues until the print as a picture is
completely spoiled.

Another source of fading prints is one that
the photographer least suspects. This is in the
water that is used for washing the photographs.
If the water contains any saline substances, these
are sure to remain in the prints after they have
dried down, and lay the foundation of sure fading.
Much as the idea might be ridiculed, the right
thing to do in such cases would be to give the last
two washings in clean rain water, or even dis-
tilled water, to be sure that no salts remain in the
print. Ordinary water from the faucet could not
be used to wash a daguerreotype plate, because
of the trace of saline and organic matter that
would spoil the finished picture with spots and
tear marks.

THE WORKROOM

177

One of the prominent sources of fading is the
employment of a paste or mountant that is liable
to acetous fermentation. It will be found upon
examination of many prints made a year or two
previously that there are a variety of streaks and
markings all over the print, which are clearly
visible through the paper as brush marks. This
is due to the imperfectly made paste or mountant
— paste that has been improperly cooked — the
result being brought about by the starch granules
becoming fermented by atmospheric moisture,
thus setting up what is called acetous fermenta-
tion. No matter how slight the quantity of
acid generated, the print will start to fade and
continue to do so until it becomes unpresentable
and not fit even to copy.

The above remarks apply not only to prints
made with the salts of silver, but to every kind
and description of photograph. If fermentation
sets in at the back of any print the paper will
also become affected. There are many very fine
prints existing today that were made by the
hot-bath platinum process, that have not been
mounted, the whites of which have become
yellow or degraded by age alone. This must not
be considered as fading in the usual sense of the
term, because all paper will become affected by
time. As far as the platinum image is concerned
there is no change whatever in the platinum
deposit. The rich, velvety black still exists,
which proves this class of photograph to be of a
very permanent character. When an acid is
present the fading is due to the oxidation of the
image.

Many photographers have observed the
imprints of the hand, particularly finger-marks
upon a photograph after it is finished. This is
due to the acid condition of perspiration of the
hands during the process of mounting. It will
interest many photographers to know how easily
they can put this to the test. If the person who
mounts the prints perspires moderately, take a
piece of blue litmus paper, touch the perspiration
with it. In an instant the paper will turn red.
Or if the finger is pressed upon a piece of blue
litmus paper by the person mounting the prints,
and held there for a short time, a perfect imprint
in red will be produced upon the test paper.
This is due to either uric or lactic acid, or both,
especially if such person suffers from rheumatism.
When any large-size prints have to be dealt with
it is a very good plan to wipe the surface of the
print after the fourth or fifth change of water.
Place a print, say 11 x 14, upon a 14 x 17 sheet
of glass, take a tuft of absorbent cotton and wipe
the surface of the print with the cotton in a wet
condition; treat each print in the same way,
while a stream of water is still running upon it.
This certainly removes many little impurities
that cling to the more or less viscous surface of
the print, at the same time produces no injury
whatever, but ensures the removal of surface
impurities that cannot be removed by the
ordinary method of washing. Upon examining
the tuft of cotton this will become apparent,
for it will be observed that a considerable quan-
tity of organic matter adheres to the cotton,
while at the same time the removal of the hypo-
sulphite of silver has been greatly assisted and the
whites of the print improved.

It has been remarked that even a carbon print
will fade, after a short exposure to light and air.
This is only true when there is a trace of the
salts of chromium left in the paper, due to
either careless manipulation or a want of correct
knowledge of carbon printing. If the carbon
print, previous to mounting, is placed into a
5 per cent, common alum solution, for a few
minutes, and then washed well in several changes
of water, there will be no signs whatever of
fading or a change of any description. The
writer possesses carbon prints made in 1873
that are as clean and perfect in every particular
as they were when made, thirty-four years ago.

As a surface protector for every kind of
photograph, no matter what kind it may be,
whether colored or not, the use of amyl-acetate
collodion cannot be too strongly urged. The use
of this material does not alter the character of
the print at all, but protects it from all atmo-
spheric gases, damp or oxidation. A coating of
this material will preserve a photograph in such
a manner that nothing else will do. For the
benefit of those who wish to prepare this article
the following formula is given. The print can
be coated either before or after mounting, and
what is more, a photograph so treated may be
wiped with a piece of wet absorbent cotton and
cleaned without fear of injury to the print.

Amyl-acetate Collodion

Gun cotton (pyroxyline) . 400 gr.
Amyl acetate (concentrated) 10 oz.

Shake this well, then filter through a lightly-
made plug of clean washed-out cheese-cloth,
pressed (not tightly) in the neck of a clean glass
funnel; filter this twice, when it will be fit for
use.

Should the collodion be too thick it can be
thinned down by the addition of a small quantity
of amyl-acetate. Allow the prints to dry spon-
taneously. Coat them at night, the next morning
they will be fit for delivery. If any spotting is
required, it must be done before coating the print.

On Making the Best of Every Negative

Printing Control

The quondam lively controversy between
the "straight printers" on the one hand and the
"control printers" on the other has almost
passed out of today's memory, and gone to join
its ancestors who battled royally over the
legitimacy of retouching or local after-treatment
of the negative. These disagreements are
amusing in light of the fact that the battle in
each case raged over a bogey which, like Mrs.
Gamp's friend, "Mrs. Harris," did not exist.
In our case the bogey was that a good or "tech-
nically perfect negative" was itself a faithful
and true record of a long scale of tones, and that
the print was an equally faithful transcript. As
a matter of fact, the truth-telling power of
negative or print is considerably restricted if
compared with quite ordinary conditions in
nature.

In the making of a photographic print we are
limited, on the one hand, by the whiteness or
light-reflecting power of the paper, and, on the

178

THE WORKROOM

other, by the blackness or darkness of the image-
forming material. In the case of a platinotype
or a very good bromide print, this is a range of
about 33 — or say 30 — to 1. That is to say that
the darkest part of the picture reflects about -^
as much incident light as does the white paper;
or the high lights are 30 times lighter than the
shadows.

Now, in nature it is not a very unusual thing
to see a near (foreground) dark tree trunk in the
shade along with freshly fallen snow in the open
distance. This is a contrast range considerably
beyond that of our 30 to 1 paper. In fact, it is
probably something like 200 to 1. If our near
dark object be the open mouth of a deep cavern,
reflecting back still less light than the tree, it
will probably be a range of 300 or 350 to 1. It is
clear, then, that, were our negative capable of
giving a range of, say, even 100 to 1, our printing
paper would let us down with many of our
natural subjects if a faithful, i. e., literally true,
record be our aim or standard.

Thus, with the best possible negative and
longest range printing paper, we are likely to
find ourselves ousted from the palace of literal
truth with all our natural subjects, except those
limited to a range of about 30 to 1. These we
should regard as flat, tame, and often quite
uninteresting.

But this is not all, by any means. For suppose
we have a natural subject showing, let us say,
a moderate range of 100 to 1, i. e., a row of
patches graduating from light to dark, the former
reflecting 100 times as much as the latter; what
can our technically perfect negative give us?
Perhaps the first ten or twenty darker patches
are indistinguishable in the negative, i. e.,
under-exposed, and at the other end the highest
ten or twenty may be all one flat and even
density in the negative, leaving us a short central
range fairly satisfactory. But when we come to
print this central best part, perhaps its range
goes outside the possibilities of the paper; and
further, the differences of the tones of the print
at either end will show a falling off similar to
the negative. Thus the perfect negative and
perfect print (i. e., literally truthful) are for the
most part myths. Therefore the war about the
untouched negative and the straight print is
futile.

We have therefore to regard the matter from
the real or practical side, keeping in view our
limitations. One or two simple experiments will
give us a good foundation or start. Take an
ordinary rapid plate, and at a fixed distance
from a steady artificial light in the dark-room
give it a series of graduated exposures, each
being just double or half its neighbors — e. g.,
1, 2, 4, 8, 16, 32, 64, 128, 256, 512, 1024, etc.,
seconds at such a distance that the central part
of the series is likely to give us some easily dis-
tinguishable densities. Develop this strip fully,
i. e.f as long as 1 shows no change, or action ceases
in the central part. Fix, wash, and dry this
strip negative and print it. If the print shows
eight distinguishable consecutive steps, it is
recording a range of differences corresponding
to a light range of 128 — or say 100 — to 1. If, on
the other hand, it only gives you a range of six
steps, your illuminative range is limited to 32,

say 30 to 1. In the light of what has just been
said, you are more than likely to find either the
first few steps, 1, 2, 4, etc., or the latter, 512,
1024, 2048, etc., indistinguishable in the nega-
tive and in the print. Likely enough your strip
negative may fail at both ends, though in oppo-
site ways. Abney, Hurter and Driffield, and
others have shown that we cannot follow in
faithful relative proportions of different natural
luminosities with the densities of our negatives
over more than a comparatively short range of
Nature's keyboard of light and shade tones. In
other words, our negative lets us down one step,
and the print still another. Surely, then, where
is the need for defending the imaginary infallible
untouched negative and straight print?

Both the negative and print are only means to
an end, and, like the printed page, are at best
only conveyers of thought and feeling, of ideas
and emotions. Thus the best print is the one
which best conveys the message of the sender,
i. e., the artist, who has seen and felt things
which he desires to convey to others.

This brings us to the very practical point of
our aims in making the negative (i. e., exposure
and development), and selecting the printing
paper and making the print.

Now, although our strip negative just men-
tioned is not very attractive in appearance, it is
nevertheless a useful, practical aid in examining
and comparing the printing respond of various
papers, gaslight, bromide, P. O. P., etc. The
foregoing diagram may perhaps aid the less
experienced worker in selecting this or that kind
of printing paper for special consideration. It is
convenient to group all negatives into classes.
We have here taken six classes as being sufficient
for all practical purposes. Opposite these six
classes are vertical lines showing the most
responsible process for such negatives. Thus,
for example, if developing for contact printing
on rapid or ordinary bromide paper, we should
aim at producing negatives of the C or D class;
or, again, having produced a negative of the
B or C class, we should select gaslight for
contact or bromide for enlarging; while if our
negative came into D or E classes we should
most likely get the best result with a matt silver
paper, or carbon, and so on. As a matter of
fact, what we call control is largely but not
entirely a matter of influencing light and shade
contrast. Fortunately we can compensate for
errors of judgment in the making of our negatives
by a discreet choice of printing paper as just
shown, and also by a discriminating choice of
strength of light. This may help to explain to
the beginner why in this diagram we have given
each type of paper at least two classes of nega-
tives. Thus, suppose we wish to use "gum
bichromate," and our negative is of the B class,
we shall print in a soft or rather weak light;
while if the negative be of the C class a more
vigorous light may be used.

Again, much in the way of general lightness
or darkness, apart from contrast, is under easy
control, either by more or less printing in the
print-out paper or by modified development in
the other papers, and also suitable exposure.

Contrast, again, is a matter of relation between
two things. This relationship can be modified

THE WORKROOM

179

by altering either the one or the other, or both.
Take the sky and land part of a landscape, for
example. To reduce contrast we can darken the
sky, or lighten the land, or influence both. Thus
in local treatment, intensification of one part
may be equivalent to reduction of another part,
the wiser choice of either procedure depending
on the general consideration of the case. Hence
from the foregoing and other considerations the
reader will rightly infer that as each case requires
its own special treatment, one should have a well-
furnished armory from which one may select the
most suitable weapon. — Amateur Photographer.

to fall below 70° F. Hydroquinone not only
works most tardily, but often is inert at tem-
peratures below 60°. Stain is invariable at tem-
peratures below 70°. — Bulletin of Photography.

Some Notes on the Use of Hydroquinone

The high price of the developing agents has
brought forth the question of the propriety of
using hydroquinone alone for practical work,
and consequently photographic journals are
besieged by inquiries as to the advisability of
its use disjoined from the other agents with which
it is almost universally associated for ordinary
portrait work.

The value of hydroquinone for securing great
intensity of image goes without saying; but, as
portraitists do not favor density and look for a
medium which furnishes a variety of half-tones
in the image, now the question asked is, Can
one get with hydroquinone alone a good dif-
ferentiated negative?

We premise by saying that hydroquinone
possesses no tendency to abnormal develop-
ment, and hence there is no reason why it may
not be advantageously employed per se. But
it requires special humoring, so to say. The
various restrainers employed with pyro, etc.,
perform with hydroquinone the same function,
indeed, in a more pronounced manner, and just
here lies the crux of the problem; an inju-
dicious use of bromide of potassium may call
down undeserved anathemas upon it.

One peculiarity of hydroquinone is that
under-exposures have a tendency to stain with
protracted development. The stain is more
liable to occur when soda is the energizer than
with potash. But this happens also with pyro.

The tendency to stain is lessened and prac-
tically avoided by increase of the content of
sulphite.

The effect of bromide is to retard, more so
than with pyro, and so particular care must be
taken not to dose with the bromide. A mini-
mum quantity of bromide adds to the clearness
of the image, as well as to increase of gradua-
tion, and is also sufficient to prevent fog.

This dosing indiscriminately with bromide
is the main reason why it is not generally
employed alone, because of the harshness of
the image resulting. It would follow from this
that it is not advisable to use hydroquinone
developer over and over. The use of caustic
alkalies is advantageous in shortening the time
of development, and it is also of advantage to use
a more dilute developer; that is, add more water.

A good proportion for developer is formed of
2 grains hydroquinone and 6 grains of caustic
potash to each ounce of developer with 30 grains
of sulphite, taking caution as to the use of
bromides. Never allow the developing solution

A Compound Fixing-bath for Delicate Negatives

Fixing the negative, yes; did you ever study
that simple yet very important part of the
photographic process?

Have you not often noticed how the high-
lights are eaten away when the negative has
become what is called completely fixed? And
have you not noticed how differently a properly
made new fixing-bath works compared with an
old one? More than this, have you ever observed
how different the quality of a negative is when
it is fixed in plain hypo and when it is fixed in an
acid hypo bath?

All the delicate qualities, so necessary in a
negative, are very often eaten away in the acid
fixing-bath, while they are retained in the nega-
tive that was fixed in the plain hypo.

The acid fixing-bath was devised particularly
with the idea of hardening the gelatin film at the
same time that the fixing was performed: An
advantage, it is true; but when a negative is
required that must possess and retain all the
fine detail in drapery without loss, the plain
hypo fixing-bath has proved to be unapproached.
Some five years ago I tried a fixing-bath for
negatives that was said to increase the density
or to intensify the negative at the same time that
the fixing operation was in progress. This bath
had as one of its component parts protosulphate
of iron. As a fixing-bath it was a complete failure
in my practice, and I found, upon inquiry, that
it proved to be the same in the hands of others.

For the past year I have been using a very
simple fixing-bath that retains all the delicate
details in the negative without any eating away
of any portion whatever; at the same time a very
faint acid reaction is indicated by blue litmus
paper and a slight hardening takes place at the
same time without the use of either the common
or chrome alum or formaldehyde. Now, it is
always considered that results count, and as good
results have been given by this particular fixing-
bath, it is here published for the benefit of other
photographers besides myself whose aim is to
secure the best negatives possible:

Water (warm) 64 oz.

Sulphate of magnesia (Epsom

salts) 4 oz.

Hyposulphite of soda ... 20 oz.

It is not necessary for the water to be hot, and
the mixing may take place either in a large glass
bottle or in a stoneware pitcher.

When the sulphate of magnesia and hypo-
sulphite of soda are dissolved, the liquid should
be strained through muslin, owing to the presence
of both chips and dirt, which must always be
kept out of this fixing liquid, so as to aid in
securing the best results.

This fixing liquid has been used continuously
at 75 and 80° without any detriment, the sul-
phate of magnesia acting as a mild hardener
without interfering with the fixing properties
of the hypo.

180

THE WORKROOM

No frilling has ever taken place with this
fixing-bath, although the changes of temperature
have been sudden, from fixing to washing.
Negatives fixed in this lose no detail whatever,
either in the high-lights or the shadows.

The fact must not be overlooked that the
composition of the fixing-bath has a great deal
to do with the resulting color of the negative,
and the color has a marked influence upon the
resulting print.

To get the right kind of print, one that will
render the texture of everything artistically, it is
necessary to produce the right kind of negative;
the fixing-bath has as much to do with the result
as the developer. The tendency I have always
found in this particular fixer is to bring about a
soft negative, although the developer may have
been the means of the production of considerable
contrast.

Any sediment that may be formed should be
separated by either decanting or simple filtering.

When it becomes sluggish in action it should be
cast among the other waste solutions for throw-
ing down the silver, and a new bath made with-
out delay.

The Choice of a Color for Prints

There are the proverbial three courses open to
a photographer in the choice of the color in which
he will make his print. (1) He may ignore the
color of the subject absolutely, as is usually done
in a plain black-and-white print. (2) He may
select a color in which the color of the original is
suggested. (3) He may match the color of the
original exactly. Putting on one side the various
three-color processes, it is evident that the third
course is only possible when the subject is a
monochrome one; since the very simplest arrange-
ment of colored objects in nature contains colors
that are blended in too complex a manner to be
imitated by any photographic method of local
toning, inking up with various colored inks or the
like. It remains to decide whether the prevailing
color shall be suggested or ignored.

In doing this, we are met by the fact that, in a
great many of the subjects with which the pho-
tographer deals, there is no one color so pro-
nounced as to be entitled to the term "prevail-
ing." Even when there is a large area of some
strong tint, as in the case of landscapes, where we
may have two-thirds of the total area in one or
other of the many shades of green, there is nearly
always to be found some very decided touch of
another color where green does not "prevail," as,
for instance, in the blue of the sky or the yellow
or brown of earth, fallen leaves, buildings, etc.

When this is the case, if we choose for our
picture a color which suggests the green of the
landscape we shall have a green representing the
blue of the sky or the yellow of a building, and
the more effectively it will do the one the more
conspicuously unsuitable will it be for the other.
Hence we see that for a great many landscape
subjects a green picture would be quite out of
keeping. This is generally recognized, as can be
seen at any exhibition, where the prevailing tone
of the landscape pictures will be found to be black
or a cool brown, which in this respect is much the
same as black.

There are a few landscapes which are so nearly
monochromes in green that a greenish tone may
be adopted with them. In such cases it will not
do to adopt a definite green color for the picture,
as there are sure to be widely varying shades of
green in the subject, and if we endeavor to hit
upon a match for one of these we shall be far
wrong with many of the others. But, by choos-
ing a greenish black, we may suggest the green
character of the picture generally without invit-
ing the thought that we have tried to get the
color itself and have failed.

A class of landscapes for which a distinctive
color is often used is that of snow scnes. Al-
though there are in most snow pictures distinct
areas of warm color, these colors are often not
decided enough to make the use of a cold color
impossible. A snow scene is often improved,
therefore, by being printed in some tint which
suggests the prevailing tint of the subject — blue
or green. Here, again, we must guard against
the use of too decided ashade. A plain blue or a
plain green, by challenging comparisons, is to be
avoided, but a bluish or greenish black will be
free from this objection.

There is something a little incongruous in the
use of a sepia or a warm black for snow subjects,
although for the deeper shadows the tone may not
be amiss. The high-lights in snow are usually so
free from any suggestion of yellow or red, at least
of that particular yellow or red-brown which we
see in the high lights of a sepia picture, that this
tone of print should be avoided for this particular
purpose. It is one of the few classes for which
sepia is not as suitable as plain black.

Another of these classes includes what purport
to be moonlight pictures. Here there is in nature
an almost complete absence of warm tones; even
bright scarlet flowers in the moonlight look
almost black. A bluish black tone is, therefore,
very suitable, but not the greenish black which
is sometimes used, for which there seems to be no
justification.

Sea pieces are in another class. Here a green-
ish tone is not unsuitable; but, once again, it
should be greenish black rather than green, and a
greenish black quite distinct from that which
might suit some landscapes. Warm brown and
sepia are generally out of place for such subjects,

Coming to portrait and figure work, we have a
group of subjects for which warm colors are de-
cidedly to be preferred to cold. Black — pure
black, that is — is permissible, as indeed it is for
all subjects without exception; but, if we make
any departure from this, it should be in the
direction of warmth — brown or red, rather than
towards blue or green.

For very light, dainty work, in which what
draperies there are are white, red chalk or
Bartolozzi red on paper with a slight cream tint is
suitable, more from its delicacy than from any
suggestiveness of the color. But when the
draperies or accessories are heavy this is not
usable with success, and one does best by keeping
to the deeper shades of brown, sepia, etc.

Nothing has been said about a purple tone,
such as is sometimes called "photographic
purple." Were it not for the fact that it has to
some extent come to be accepted as the photo-
graphic color par excellence it would hardly be

THE WORKROOM

181

tolerated. It is essentially an artificial color, by
which is meant one which is used because the
process gives it, and not for any special merit or
suitability of its own; and it is apt to appear
gaudy and crude. It is perhaps to be classed
with the oink and mauve tinted papers which the
professional finds it necessary to use for clients of
a certain type, but which have no justification in
art. They are not to be employed voluntarily. —
Photography.

Mounting with Adhesive Applied only to the
Edges

Mounting is an operation in which there is
great risk of spoiling an otherwise good print.
I do not write of dry mounting, which, when the
necessary apparatus is available, seems to be as
near perfection as anything can be got; but of
mounting as it has to be carried out with the
means which are at the disposal of the average
amateur photographer. These generally reduce
themselves to a pot of starch paste or some ready-
made adhesive, a brush, and some sheets of
newspaper.

The difficulty which most of us experience lies
in the apparent necessity for applying the paste
over the whole of the print. To get this to be
quite flat, not only must it be pasted all over, but
sufficient time must be given for the paper to
absorb moisture from the mountant and become
limp. The result is that as it dries it contracts,
and causes the mount to curl. Drying under
pressure, and drying with the mounted print bent
into a convex form, print outwards, have been
suggested as methods which get over this incon-
venience; but at the best they are not very suc-
cessful, for if the mounted print is left lying loose
afterwards it soon curls again.

An alternative is to apply the mountant at the
edges only. It is not at all difficult to do this
neatly, and it at once gets over the cockling
trouble. The greater part of the print being
quite dry when it is mounted, there is no con-
traction with its inevitable bending. Even the
edges which are pasted need not be very limp.
I have mounted all my prints in this way for
several years now and should be sorry to have to
go back to the paste-all-over method gaain.

The mountant used may be one of the pastes
which are specially made for photographic pur-
poses— there seems to be very little to choose
between them, and I buy whichever happens to
be in stock. They are better than home-made
starch paste, as they contain less moisture than
this.

A stencil brush — a round brush with very stiff,
short bristles in a metal holder — is best for apply-
ing the adhesive, although at a pinch this can be
done with the finger tips. The necessity for
wiping them clean each time prolongs the opera-
tion, however, and is wasteful of mountant. I
tack a big button flat on the end of the brush so
that it will stand firmly, bristles upwards, when
it is not actually in use.

For mounting prints that are all approximately
the same size a piece of zinc or tin plate a quarter
of an inch smaller each way is very handy; it
should have a strip bent and soldered to one side
of it like the handle on the lid of a saucepan.

When the prints vary much in size, a piece of
newspaper may be cut for each to answer the
same purpose.

To mount a print it is placed face downwards
on a pile of clean newspapers or similar material.
The metal plate, or the paper, is put on it, so
that an equal width of the print extends beyond
it all round, and a thin but even coating of the
mountant is given with the brush to this margin
all round. The brush should be moved length-
wise in the direction of the margin, but slightly
outwards all the time to make sure that none of
the mountant gets under the edges. As soon as
the mountant is applied all round, the plate or
paper is taken off, the print raised, put down on
its mount, lightly rubbed into contact, and put
away under pressure to dry. I usually shut it up
in a book. The top piece of paper is then re-
moved from the pile and thrown away, and
another print put in hand.

If the precaution is taken of having prints and
mounts normally dry before mounting them,
which will be the case if they are spread out in the
room for half an hour or so previously, they will
not only be flat when removed from the pressure,
but they will remain flat afterwards. — Photog-
raphy.

Cleanliness

The trained chemist has a very different idea
of cleanliness from the ordinary individual, and
photographic work being essentially chemical,
it behooves those who aim at even ordinarily
good technic to fully study this term from a
proper standpoint.

If you were told by some photographic writer
to use a clean glass measure for some purpose,
you would probably give it a rinse or two under
the tap and feel thoroughly satisfied. A chemist,
in cleansing the measure, would give it two or
three rinses in water, using a test-tube brush
or some other article, and finally give it a couple
of good rinses with distilled water. Such pre-
cision is unnecessary, you say. Well, it may be
nine times, but the tenth time it may be just
that thoroughness which enables the chemist to
get the result you strive after and never seem
able to obtain.

This week I am going to give brief directions,
then, for thoroughly cleansing dishes, measures,
troughs, and so forth, feeling quite sure as I
write that you will find them useful, and their
strict observance more often than not beneficial
to your work.

The easiest dishes to keep clean are the white
porcelain or "granitine" ones, which have a
glazed surface of excellent resisting powers.
When developing gaslight or bromide papers in
such dishes, however, black stains eventually
make their appearance, and require removing. A
small piece of flannel and some " Dutch Cleanser"
soap or "Sapolio" will enable you to do this;
but a much more rapid and effective cleanser
will be found in nitric acid, which instantly
dissolves them. A few ounces of commercial
nitric acid should be kept in a glass-stoppered
bottle, in the dark room, for cleansing purposes,
but care must be taken in using it not to get any

182

THE WORKROOM

on the fingers, as it burns the skin and makes it
brown.

After a dish has been rinsed with nitric acid it
should be given five or six good rinses with tap
water, so as to completely remove all traces of
the acid.

Dishes which have been used for M.-Q. and
other developers, or in which fixing solution has
been standing, will be found to have a rough
feel, which washing does not remove. This
roughness is due to a sediment which is insoluble
in water, and an acid is the best means of remov-
ing it; the acid need not be strong, however-
one part of either nitric, sulphuric, or hydro-
chlorid acid in ten parts of water dealing with it
effectively.

The sides of glass measures in which a develop-
ing solution has been standing become similarly
covered with this deposit, and a little weak acid
will be found to dissolve it away immediately.

Sometimes a sediment will form on the sides
of a bottle, and nothing seems to remove it, so
that we are inclined to think "it will not matter. "
Such a refractory bottle can be dealt with by
filling it about one-third up with water, and
putting a tablespoonful of small shot in it; the
cork or stopper is then replaced, and the bottle
vigorously shaken. The friction caused by the
shot soon disintegrates and removes the sedi-
ment.

Fixing and washing troughs made of glass or
porcelain, with grooves, require constant atten-
tion. The grooves should be cleaned out
periodically with a test-tube brush, as slime and
filth accumulate readily in them.

A last word as to the state of the dark room
bench or table must be said, as a dirty bench is
the cause of endless trouble, though it is so rarely
suspected. In rocking a dish, say containing
hypo, a little of the solution comes over the edge,
and is allowed to dry on the bench. A wet glass
measure containing developer is next day stood
on that spot. It is hastily taken up, and the
contents poured over a plate to be developed; a
drop of wet from the outside — contaminated
with hypo — also finds its way into the dish, and
then "something happens."

Wash and wipe your bench constantly; wipe
the outsides of your measures and dishes when-
ever you have washed them; and do not keep
the same rag or duster in your dark room for
twelve months or more — have it washed regularly
as well.

Blisters in Carbon Process

The carbon process holds a position midway
between what may be termed straight printing
processes and those admitting control of values,
such as gum bichromate and the oil-pigment
process. With any process it is, of course, quite
possible to control values by means of hand work
on the back of the negative or by local shading
of the negative during printing, but with gum
and oil the values may be controlled during
development while the picture, as a positive, is
under the worker's hand. This kind of control
is not possible in P. O. P. or platinotype, and only
slightly so in bromide by means of subsequent
local reduction. It is in this respect that carbon

may be considered an intermediate process, for
while the film of pigmented gelatin is nothing
like so amenable to fractional reduction of depth
as is the case with the film of pigmented gum, it
is yet fairly easy to lighten tones which may be
too heavy by the cautious use of a pledget
of wetted cotton or a camel-hair mop. This
advantage, together with the fact that a great
variety of colors of tissue may be employed, and
at the same time a number of different surfaces
of transfer paper used as supports, makes the
carbon process a very desirable one for the
pictorial worker, yet there are difficulties in the
way of successful working which require to be
overcome.

Selection of Transfer Papers

A good deal of difficulty may be avoided by a
careful selection of transfer paper. If the surface
is what is desired, choose a thinner paper in
preference to a thicker one, the thinner paper
being easier to saturate with water prior to
squeegeeing down the exposed tissue. A fairly
soft paper, too, is preferable to a very hard one,
less vigorous squeegeeing being necessary to
secure perfect contact over the minute inequali-
ties of paper surface. The character of the
gelatinous sizing should also be noted, and it is
well to soak a sample of the transfer paper in
hot water — say, at a temperature of 130° F. —
and notice carefully how the gelatin behaves.
After some little time the transfer paper may be
taken out of the water and surface dried between
blotting paper, and the gelatin rubbed with the
ball of the finger. If it remains firmly on the
paper it will probably work satisfactorily, but
if it readily rubs up almost in a moist, powdery
way the transfer paper may be regarded with
suspicion. The gelatin is poor, or has been
allowed to remain heated for too long a time
when the sizing has been done. Better a little
additional sheen on the surface of the print than
no print at all on account of blisters.

Air in the Transfer Paper
Reference has been made to the necessity for
saturation of the paper before squeegeeing down
the tissue. With thin, smooth papers, fifteen
to thirty minutes' soaking in cold water is an
ample allowance; but the air in a thick paper
cannot be dispelled in so short a time, and with
some of the thicker drawing papers a soaking
of two or three hours is necessary. This ex-
pelling of the air is expedited by laying the
sheet of paper on the squeegeeing slab, allowing
cold water from the tap to run on to it, and
rubbing it over with the flat hand with some
slight pressure. This not only dispels any
minute surface air-bells, but the pressure forces
air out of the spongy paper. This may be done
two or three times during soaking and immedi-
ately before putting down the exposed tissue. The
soaking may be shorter if warm water, say 80°
F., is used, but the transferring must naturally
be done in cold water.

Condition of the Tissue
Blisters are of two kinds, large and small.
Those due to air on the surface or to air in the

THE WORKROOM

183

substance of the paper, plus a poor character of
sizing, are usually small — at all events, not bigger
than a ten-cent piece. But large blisters some-
times occur, so large and so numerous that
almost half a print will come away from the
support. These may usually be traced to the
tissue rather than the transfer paper. Over-
printing, printing in the sun or too near an arc
lamp, so that the tissue becomes partially
insoluble from the action of heat, stale tissue,
tissue sensitized at home and dried in an
impure atmosphere, any of which produce, at
all events, surface insolubility, and prevent
satisfactory adhesion of tissue and transfer
paper.

The same thing will sometimes occur where
there are large areas of heavy shadow, especially
if the negative is too strong and very full printing
becomes necessary to secure detail in the high-
lights. In the last instance the remedy is obvious
— softer negatives must be produced, and the
existing negative either reduced with persulphate
or the shadows softened by the aid of mineral
paper and stumping sauce. In other cases avoid
heating the tissue during printing and take care
to use only tissue which before printing is in a
perfect condition of solubility. The point may
be readily tested by slipping a bit of tissue into
water of 80° to 90° F., when the gelatin should
melt within half a minute quite freely.

Development

The usual instructions are to develop in water
at a temperature of 110° F. With rough papers
much greater safety is ensured by commencing
with the water very much cooler — say, 70 to
80°. If the tissue is in good condition, the nega-
tive not too strong, and the proof not overprinted
the back should readily peel away in a short
time, and the temperature may be raised if and
as necessary, but, of course, very gradually.
Not only are blistering risks minimized by this
method, but if printing is on the light side there
is a better chance of saving the print, and the
worker always feels that he has something up
his sleeve in the way of increased temperature
should that be necessary. The readier solubility
of the gelatin, too, enables local lightening to be
readily carried on, and a good deal may be done
in the way of concentration and the introduction
of accents without that risk of dragging away
the film from the single transfer paper which
exists more or less where printing has been
carried so far that development at a much higher
temperature is necessary.

Occasionally a transfer paper is met with
which shows a tendency to blistering as soon
as the print is subjected to a change of tempera-
ture, and with such a paper it is not possible to
stop "bleeding" by slipping the print into cold
water. As soon as development is seen to be
complete, the print must be placed at once in
the alum, and if this is quickly done there is not
much risk of any "bleeding" being hardened
and causing smeary markings.

Controlling Bromide Prints

Up to the date of the introduction of Sterry's
process the methods of controlling gradation in
bromide prints were not very satisfactory, nor

were they easy of manipulation. With ordinary
care and cleanliness it is within the power of the
average photographer to produce a perfect
print by this method. The great feature of this
process is the fine gradation to be obtained, and
the softening of contrasts. Nor is this all.
Where we have to reduce to monochrome a
wide range of colors, as in complex flower
studies, we can obtain pictures with a much
truer gradation than it is possible by straight
exposure and development.

The process is extremely simple. All we have
to do is to soak the exposed but undeveloped
bromide paper first in water for two or three
minutes; then in a bath of bichromate of potash
for a few minutes; rinse in two changes of water
to wash out excess of the reagent, and finally
develop in the ordinary way.

The first thing to be done is to make up a stock
solution of bichromate of potash. It does not
matter if a few crystals of the salt remain undis-
solved at the bottom of the bottle, as this only
shows that the solution is saturated. From this
we can make up baths of varying strength.

Next (if using an unfamiliar bromide paper)
we take our negative and make a series of expos-
ures to determine the time necessary to obtain
perfect detail in the high-lights. No notice need
be taken of the shadows being overprinted, as
the bichromate bath will keep back the develop-
ment of these when we make our final prints.
The necessary exposure having been discovered,
we make a trial exposure, and cut it into strips,
taking in portions of the highest light and the
deepest shadow. Next we take our stock solu-
tion, and from it measure out carefully, say,
half a dram, and make up to ten ounces with
cold water. Place the exposed strip in a bath of
cold water for two or three minutes — this I
find is rather an important step in the process,
as unless this is done the bichromate bath seems
to act unevenly on the emulsion, and may lead
to unsightly stains appearing on the finished
print — and then transfer to the bichromate bath.
Leave it in this for four to five minutes, then
rinse twice in clean water and develop as usual.
Personally I use amidol for preference, as toning
with sulphide or hypo-alum works best after this.
Development is retarded, but it is advisable to
go on until the detail comes up in the high-light.
Now rinse quickly and fix in acid hypo. The acid
is important here because it will remove any
yellow stain left by the bichromate bath. When
fixed, remove the print to a well-lighted room,
and examine it side by side with a straight print
from the same negative. It is probable that the
result will be a considerable improvement on the
straight print. However, if it is not entirely
satisfactory, baths of greater strength can be
made up from the stock solution, and further
trials made with the exposed strips reposing in
the drawer.

Having determined our exposure, and decided
on the strength of our bichromate bath, we make
a final exposure and develop and fix. Then
compare this result with the straight print. It
is important that the final washing should be
thorough. In this way we can obtain extra-
ordinary differences in our prints.

The negative which I used in making my trials
of this process was, I thought, hopelessly spoilt

184

THE WORKROOM

by stains produced by my having attempted
local reduction. But my astonishment was
great when I discovered that all signs of the stain
were nearly obliterated by the adoption of this
process.

The conclusions that are to be drawn from my
results are:

1. By this process we have a means by which
great softening in contrast can be obtained, the
scale of tone gradation being greatly improved.

2. We can obtain greater detail in the shadows
than we could without it.

3. In subjects in which we have to reduce
to monochrome a wide range of colors we can
obtain a correct rendering, although we may
have, on our negative, overexposed for the whites
and blues, and more correctly exposed for the
reds, yellows, and greens.

4. In landscape subjects, where we have on
the same negative a good sky with a fine cloud
detail, we can keep back the development of the
landscape until we have brought out the sky
detail.

5. From a negative which is badly stained
we can get a good clean print.

In conclusion, let me add a word of caution:
When working with this process, or indeed any
other in which bichromate salts are used, it is
advisable that the operator should wear rubber
finger-stalls. If the solution gets into any small
cuts or abrasions in the skin, ulcers are apt to
form, which are very slow in healing.

The Optical Properties of Light Filters1

In discussing the optical properties of light
filters for use in photoengraving and color
processes the subject is divided by the author
into two parts: (a) the optical properties of
perfect filters; (b) the optical properties of imper-
fect filters. Under the first division mathe-
matical expressions are given for the two principal
aberrations suffered by light in passing through a
plane parallel filter, namely, curvature of field
and spherical aberration. Numerical applica-
tion is made to the most unfavorable case occur-
ring in practice. The results found prove that
no detrimental or even sensible action occurs.
Difference in magnification due to the use of
filters of different colors is next considered. It
is found that for red and blue filters the differ-
ence is of the order of one part in five thousand,
or negligible. Compensation for this can be
secured by making the filters of slightly different
thicknesses. In testing imperfect filters, the
author made use of a telescope of long focal
length, and a test object formed of illuminated
squares. Photographs of the appearance of the
image with imperfect filters interposed are given.
The effects of poor grade glass, cylindrical curva-
ture, and cell pressure are shown. In examining
high grade filters, a resolution test is used.
Finally formulae for change in magnification
due to filters of different thickness, and to filters
having spherical boundary surfaces forming a
lens of power dP, are deduced, and verified by
means of actual tests in a specially designed
optical apparatus. — C. E. K. Mees.

1 Communication No. 41 from the Research
Laboratory of the Eastman Kodak Company
(abstract).

Copies of any patent can be obtained from the
Commissioner of Patents, Washington, D. C.
Price, five cents each.

Camera. J. A. London. 1215290.

Camera Device. J. P. C. Granger. 1215142.

Cinematograph Apparatus. J. Lahrmann.

1214789.
Photograph Case. J. P. Roller. 1215036.
Mounting Photographs. C. W. Laurell. 1215170.
Camera Device. J. A. Maker. 1214936.
Coloring Photographic Images. H. Miller.

1214940.
Film for Color Projection. A. Keller-Dorian.

1214552.
Shutter. R. Klein and T. Brueck. 1215284.
Shutter. P. J. Marks. 1214699.
Photo-micro Apparatus. R. L. Watkins. 1214851.
X-ray Apparatus. W. D. Coolidge. 1215116.
Folding Camera Bed. W. A. Riddell. 1215412.
Camera Device. G. T. Lwinting. 1216021.
M. P. Device. A. S. Howell. 1215534.
Range Finder. R. E. Green. 1215647.
Method of Making M. P. Films. H. W. Webb.

1216026.
M. P. Machine. G. D. Brady. 1215770.
M. P. Device. J. F. Gilmore. 1215364.
M. P. Shutter. A. D. Standeford. 1215887.
M. P. Screen. E. G. Meadway. 1216154.
Camera. C. Bornmann & E. C. Clark. 1216543.
Camera Indicator. C. Voigt. 1216631.
Projection Screen. J. F. R. Troeger. 1216380.
Film and Producing the Same. L. Lilienfeld.

1217027.
Film Clasp. J. R. Dunavant. 1216967.
Developing Apparatus. J.S.Greene. 1216440.
Lighting Device. R. John. 1216696.
Print-toning Apparatus. P.M.Taylor. 1216748.
Printing Apparatus. W. C. Huebner. 1216318.
Film for Color Photography. C. Raleigh and

W. V. D. Kelley. 1216493.
Method of Taking Motion Pictures. R. John.

1216695.
Projection Apparatus. A. Ames, Jr. 1216910.
Projection Apparatus. A. Ames, Jr. 1216911.
Projection Apparatus. A. Ames, Jr. 1216914.
Projection Apparatus. L.G.Morris. 1216835.
Stereoscopic Device. L. T. E. Colardeau and

J. Richard. 1216948.
X-ray Tube. J. B. Wantz. 1216633.
Camera Back. C. F. Speidel. 1217653.
Camera-focusing Attachment. W. Ehrlich.

1217728.
Winding Device for Cameras. A. Hardy.

1217444.
Time Release for Cameras. H. H. Parsons.

1217493.
Color Cinematography. C.N.Bennett. 1217391.
Color Photography. C. Raleigh and W. V. D.

Kelley. 1217425.
X-ray Apparatus. E.W.Caldwell. 1217148.
X-ray Apparatus. E.W.Caldwell. 1217149.

The

PHOTOGRAPHIC
JOURNA

ofj4meric<

NEW SERIES WILSONS PHOTOGRAPHIC MAGAZINE,

CAMERA BUILDING , NEW YORK

$1.50 A YLAR - MAY, 1917 - 15 CLNT5 A COPY

In 1909 it was stated of

Cyko Paper

"Each grade of Cyko has more latitude,
plasticity, chromatic rendition and proper
scale of gradation than any other paper.
Its scope is unlimited"

and yet its scope has been enlarged
every year since, so til&t Itl 19 1 J it

CYKO is the single and universal expression
of photography today

Ansco Company

Binghamton, N. Y.

PITTSBURG SALON, 1917

'A LADY "
BY MARGRETHE MATHER
LOS ANGELES. CAL

PHOTOGRAPHIC
- JOURNAL-
'S^ AMERICA •

VOLUME LIV

MAY, 1917

NUMBER 5

THE PITTSBURG SALON, 1917

By W. H. PORTERFIELD

JUST how many years have elapsed
since the term pictorial photography
was first applied to that class of work
which, by reason of the difference in
quality and effect, was distinguished from
the work that had formerly graced our
exhibition walls, it is quite impossible to
say; but there was a condition apparent
as far back as eighteen ninety-five or six
which might, without serious chances of
error, be termed the turning-point.

Previous to that time the glossy print
with its microscopic detail expressed the
photographer's highest achievement, with
nothing more to be desired, particu-
larly if his landscapes possessed clear
white skies and his portraits bore no
traces of flesh tones or subtle shades of
modeling, which then would have been
condemned as faulty development of
plates or a mistake in printing.

If one was particularly ambitious and
aspired to exceptional rank in the art he
could always, if a person of means, add to
his prestige by using a camera of extreme

size, carrying an anastigmat lens with a
title that would overwhelm an Indian
potentate. This combination never failed
to elicit expressions of awe, and never
sold for less than several hundreds of
dollars, and on that fact hung many
reputations.

"Good pictures," those days, were
always blamed on the lens, the photog-
rapher modestly claiming credit only for
the muscular equipment that enabled
him to carry the outfit and set it up. Any
favorable result was "luck," for he never,
never would promise that "they would
come out good."

The photographer of twenty years ago
was ready, generous soul that he was, to
promise one "a copy of the negative,
and delighted when it was accepted. He
would rarely accept payment for such
a trivial service as "striking off a print,"
because he was "only an amateur,"
though it is not on record that the law-
abiding amateur had any such courtesy
extended him by the stockdealer.

(185)

186

THE PITTSBURG SALON, 1917

Photography is not less a mechanical
science today than it was two decades
ago, but by infusing into the work the
personality of the photographer and by
applying principles long known to the
students of art the pictorialist has
brought about a change in the product of
the camera which first deserved and later
won recognition at the hands of the
connoisseur.

It is not sufficient in the year of our
Lord nineteen-seventeen that an aspirant
for honors in the photographic world
shall know only his camera, lens, and
chemicals, though a knowledge of these
things is essential if he would advance
beyond what is now considered only the
elementary stage of the work.

Pictorialism in photography, as it is
practised today, takes no cognizance of
of "under-exposure," " over-exposure,"
"full-timed" negatives, and all the
technical absurdities which spelled suc-
cess or failure in the old regime, for at
best they are but relative terms. Today
the print is accorded recognition only
in so far as it conveys the effect which the
maker tells you he endeavored to secure,
and the verdict of the present-day jury
is rendered in accordance with the evi-
dence as presented in the print. Sim-
plicity in art is, like brevity in wit, the
soul of it, and to him who tells his story
most effectively and with the least
apparent effort the palm is awarded.

No better evidence of the immense
strides which camera work has made is
more convincingly demonstrated than at
the Fourth Pittsburg Salon held during
the month of March at the Carnegie
Institute.

Of the two hundred and eighty-three
pictures that constitute the exhibition
there is not one that would offend the
most esthetic taste.

The Salon has grown in dignity from
year to year, and one is conscious that
the pictorialist of the camera is very
much in earnest and that calmness and
deliberation and study have superseded
the old "shoot-at-sight" policy, and as
a result we have pictures instead of —
well — the things we used to make.

The six pictures by A. D. Chaffee, of
New York, evidently done in one of the
oil processes, are marvels of the printer's

art, and possess qualities which would
make them eligible in any exhibition of
monochrome productions. No. 44 in the
catalogue, entitled "Concarneau, Brit-
tany," is a masterpiece, not only in
composition but in every element which
distinguishes high-class work. Each of
the five remaining prints is no less beauti-
ful, though delightfully varied in charac-
ter and artistic conception.

Alice Choate, also of New York, has
the honor of introducing the one novelty
of the show, a design in black-and-white
in which a handbag, a box-cover, and
other commonplace articles are woven
into a most interesting pattern. The
"Colonnade" and "Colonnade Detail,"
by the same artist, are magnificent prints
and among the best work of the ex-
hibition.

George Alexander is represented, as in
former years, by a collection of gum
prints which shows good treatment of
the lotus flower, an unique bird-study,
and a picture of swans.

Elizabeth R. Allen, of Moorestown,
N. J., invades new fields for her 1917
salon material. Two excellent figure-
studies and three pictures of sand
dunes with effective clouds, representing
"Morning" and "Evening" and the
effect of wind on the sand, tell her story
of a visit to "The Lonesome Land."

"The Cabin by the Pond" is a delicate
landscape by M. Howard Arbogaste, of
Wilkinsburg, Pa.

"Birch-tree Lake" and "Japanese
Lady and Birch Trees," by Charles K.
Archer, of Pittsburg, are satisfying wood
interiors.

Three portraits by Philip McCutcheon
Armstrong, of Detroit, possess many ad-
mirable qualities, though their beauty is
somewhat diminished by light areas at or
close to the margins of each print.

C. E. Beeson, of Pittsburg, sends two
prints: "At the Ford," an excellent
landscape, showing the harvesters re-
turning from the fields, and "His
Majesty," a study of a bronze lion, a
difficult subject well done.

George C. Bell, of Newton, la., is
represented by three portraits, semi-
professional in appearance.

"The Sheriff," by E. W. Binkley, Mill
Valley, Cal., is a true western character

THE PITTSBURG SALON, 1917

187

and is convincing without being gro-
tesque.

"The Shadow," "The White Sail,"
and "Historical Building, Buffalo," by
David W. Bonnar, are three prints in
beautiful tone and decorative quality,
No. 24, "Historical Building" ranking
well up with the best in the show.

Benjamin J. Boyd, of Wilkes-Barre,
Pa., has a good rendition of rain and mist
effect in No. 25, "The Shower."

"The Spanish Gypsy" and "Interior,
Rothenberg," by A. A. Breed, are both
above criticism.

"Boston Harbor — Evening," is easily
the best of Rupert Bridges' four prints.
It is beautiful and sympathetic in color,
quite the opposite of No. 29, "The
Bathers," which lacks those elements.
No. 32, "The Indoor Garden" is a dim-
cult figure subject well handled.

Will D. Brodhun's single entry, "The
Wind Break," is one of the good things
of the show. This artist has created an
effective picture out of a few tall trees
which stand guard over some delapi-
dated-looking houses.

"A Portrait," No. 34, by Margaret
De M. Brown, of Brooklyn, shows a
young woman in a white dress standing
before a dark curtain, effectively throwing
into relief the delicate tones of the dress.

Gertrude L. Brown, of Evanston, 111.,
is represented by two prints, a "Colonial
Doorway" and "In the Sunlight," both
of which are resplendent in atmospheric
effect and artistic perception.

The prints of John C. Burkhart,
Portland, Me., of which there are four in
the Salon, contain many praiseworthy
features, yet all suffer more or less from
over-printing and the use of an unsym-
pathetic medium. No. 42, "The Ki-
mona," is good in arrangement but too
dark in color.

F. F. Christine II, of Philadelphia,
sends "A Scene from Normandy," a
landscape, pleasing in composition and
notable for fine atmosphere effect.

"Apple Blossoms," "A Study," and
"Day Dreams," by Katharine Brucker-
seifer, of New York, are disappointing
when one recalls the beautiful prints
which this artist sent to the nineteen-
sixteen Salon.

C. W. Christiansen's three prints are

all of Niagara and represent the great
falling water from unusual view-points.
The treatment is strongly individual and
characteristic of this worker's control of
the carbon process.

A little more simplification in the back-
ground of Louis S. Clark's "The Lilies"
would have greatly enhanced the pictorial
qualities of this print.

Ernest L. Crandall, of Washington,
D. C, is very creditably represented by
his strong landscape, "The Approaching
Storm."

Francis W. Cowell, of Little Falls,
N. Y., makes his first appearance as a
Salon exhibitor with four admirable
prints. A strong portrait, the "Beach
Gossips," an early morning harbor-
scene, and a Japanesque treatment of a
park bridge are convincing evidence of
this worker's pictorial ability.

One always expects something full of
light and sunshine from Dwight A.
Davis, and his two prints, "A Fantasy"
and "From my Window," are faultless
examples of his artistic genius.

W. A. Dick, of Pittsburg, in "A Gray
Day" shows good treatment of a com-
monplace theme.

The "Children of the Hill District,"
by James N. Doolittle, of San Francisco,
is poetic and original and the best of his
group; while "A Break in the Storm,"
"Where Nature Smiles," and "Lan-
guidly the Blue Pacific Casts its Silvery
Ripples," are decorative landscapes of
exceptional merit.

Charles H. Davis' collection of out-
door figure studies are ambitious though
somewhat lacking in accentuation, with
the exception of No. 73, "Gathering
Dogwood," which leaves nothing to be
desired. "The Mirror," by the same
artist, combines a figure study and por-
trait, the latter seen by reflection.

"An American-Italian Garden," the
work of Charles W. Davis, of Pittsburg,
is a picturesque subject expressed in an
unfortunate color.

Four prints by Edwin G. Dunning, of
New York, are all good and in keeping
with this worker's reputation. If any
preference could be expressed, it would
be in favor of No. 87, "Dickie's Break-
fast," a very charming semi-silhouette of
a woman intently watching a caged bird.

188

THE PITTSBURG SALON, 1917

John Paul Edwards, of Sacramento,
Cal., has been a consistent exhibitor at
the Salon since its inception. Each year
has witnessed a steady growth towards
bigger and better things. In the present
exhibition he is represented by six
pictures, two of which, "A Vale in
Arcady" and "Weird Grove of Death,"
are Dante-like in effect, while "A
Decorative Landscape," "Uncle Silas,"
and a "Scene on the Sacramento River"
complete an especially strong group of
prints.

Another of the prints which might well
illustrate a scene from Dante is "The
Ancient Wood," by W. H. Rabe, of
Oakland, Cal., One marvels at the
Doreesque effect in illumination. "A
Village Street" of foreign character,
"The Laurel Grove," "An Arabian
Nights Landscape" and a "Misty Morn-
ing," all by Mr. Rabe, are excellent
pictures.

W. G. Fitz, of Philadelphia, has a
good draped-figure study in "Lorelei," a
street scene in "South Penn Square —
Winter" quite out of the ordinary, and a
masterly illustration in "Hassim Seeks
the Genii of the Rock."

Most prominent in point of value
among Louis Fleckenstein's five pictures
is the "Rose Dance of the South," a
well-posed figure in costume.

John Wallace Gillies, of New York,
takes for his theme the ancient "Archer"
and classic "Discus Thrower," posed
with appropriate settings. Each pict-
ure is beautiful and complete in itself,
and as a series are unsurpassed by
anything in the Salon. One regrets,
however, that a very ordinary snow-scene
should have been included in this col-
lection, as it is strikingly incongruous
and lowers his otherwise high average.

"San Domocile" is the better of four
prints by Louis A. Goetz, of San Fran-
cisco. This is closely followed by "At-
ala," of theatrical effect, and by "The
Fireside," while No. 114, "Defiance,"
requires deeper printing to make it
effective.

William A. Guyton, Jr., of Chicago,
sends two interesting prints, "A Wooded
Hillside," showing a flowering dogwood
tree, and "Caprice," a gnarled and
twisted survivor of the orchard.

Ordinarily one does not associate snow
with Arizona, yet Ferman Hanna, of
Globe, shows one print, "The Brook
— Winter," with exquisite values, good
arrangement of detail, and unquestion-
ably the best of its kind in the Salon.

No. 118, "The Street Repairers," by
G. H. S. Harding, of Berkeley, Cal., is
an interesting genre, though slightly too
dark in foreground.

"The Live Oaks" and "Eucalyptus
Trees" are two landscapes by Thomas
R. Hartley, of Pittsburg; both rich in
color and good in tonality, lighting and
composition.

That one need not journey afar in
order to find material for pictures is
proven by the work of Agnes B. Haw-
kins, of New York, who asks for nothing
but a sprig of bitter-sweet, a water-glass,
and a figured curtain, and out of these
articles creates a design of exceeding
beauty. A "Portrait of Miss W," by the
same exhibitor, is refined and pleasing in
every respect.

Antoinette B. Hervey, also of New
York, has one exhibit, "The Bride," a
delicate print in simple tones which has
decided claims to notice.

If the single picture sent by Herbert
M. Hilton, of Brooklyn, entitled
"Through the Gates," is characteristic of
his work, it is hoped that next year's
Salon will contain a more liberal repre-
sentation from this worker.

George B. Hollister, of Corning, N. Y.,
attains his greatest height in "Pierrot,"
a decidedly clever rendition of a subject
which seems essential to the completion
of all photographic salons. In "Italy"
and "The Hill Country" Mr. Hollister
treats outdoor subjects satisfactorily.

Usually the title of a picture does not
detract from its artistic value, yet
"Sunset — Cape Cod," by Bernard S.
Home, of Princeton, N. J., would carry
greater conviction if rechristened moon-
light or moonrise, Cape Cod. The tone
of the picture is decidedly night rather
than daybreak.

W. A. Hudson, of Los Angeles, Cal.,
who last year scored a pronounced suc-
cess with studies of California missions,
is similarly represented this year and
with equally as commendable work.

From Meyers R. Jones, of Brooklyn,

THE PITTSBURG SALON, 1917

189

come "Miss Saucy" and "The Monk"
of the Capuchin monastery; the former
a faultless costume portrait, and the
latter, though a much photographed
subject, is still interesting when done so
well.

R. S. Kaufman has never appeared to
better advantage than in the present
Salon. Five of his six prints, all outdoor
compositions, are most creditable, while
the sixth loses much in value on account
of the denseness of color in the fore-
ground. "The Laborers," No. 142, tells
of man's work in life's humbler occupa-
tions and is Kaufman's best work.

In his first appearance at the Salon
Arthur F. Kales, of San Francisco, ad-
vances well to the front with six open-air
figure prints. Good judgment and a
knowledge of the possibilities of the art
are displayed in every picture. A nude,
entitled "Lost," is effective in pose and
lighting and one of the best works in the
show.

The four portraits by T. W. Kilmer, of
New York, are overpowering in size, and
though technically excellent in every par-
ticular, impress one more as professional
successes than as pictorial achievements.

Stepan de Kosenko sends only a single
specimen of his work, a "Portrait Study"
whose richness and beauty create the
desire for a deeper acquaintance with
his work, and it is hoped that future
exhibitions may be thus favored.

There is a distinct difference between
the prints of Francis Orville Libby and
others found on the walls of the Salon,
and one is likely at first glance to pro-
nounce against his big, dark masses and
absence of detail, until a little better
acquaintance is made with the strength
and breadth which makes Libby's work
quickly recognized wherever seen. No.
158, "The Glowing Dusk," is wonder-
fully luminous, and its extreme simplicity
and happy choice of color effect an
illusion seldom met with in photography.
The other prints are characteristic, and
the collection as a unit shows great im-
provement over the work in former
exhibitions.

"The Distant Shore " and " Landscape
— Evening," from Arthur S. Little, of
Ventura, Cal., are pleasing, and show
appreciation for atmosphere and values.

"Beeches," by George P. Loth, of Cin-
cinnati, is a good picture of trees with
interesting marking.

The Salon contains one gum-print in
color, the work of Dr. R. S. Lovejoy, of
Portland, Me., " Diana Rides the Night."
The new crescent is seen correct in size,
properly placed for the time of evening
represented, while the mysterious effect
of night is well expressed in the color
combination used.

William Ebert Macnaughtan, of Brook-
lyn, is the author of four prints that make
an instant appeal to the lover of all that
is dreamy and poetic in art, "The Con-
cord Bridge" and "Landscape," so
Tryonlike in quality and romanticism,
will remain long in the memory of those
who are sensitive to the subtle beauty
that earns for Macnaughtan's prints a
place by themselves.

In the initial appearance of Margreth
Mather, of Los Angeles, the Salon finds
another strong pictorialist from Califor-
nia. ' ' The Stairway ' ' and ' ' A Lady ' ' are
prints that abound in excellent taste and
reveal in the maker a highly developed
sense of pictorial appreciation.

W. C. Mellor, of Pittsburg, advances
both in number and quality of prints
over his representation of last year.
"Contentment" is an admirable study
of figures at a window, and "The Coming
Shower" is a good landscape. "Mother
Love," No. 172, in the catalogue, is satis-
factory in composition but slightly
extreme in diffusion.

"The Old Stone Bridge," by Reuben
Miller, Jr., of Pittsburg, is a difficult
subject handled with artistic skill, in
which the choice of a sympathetic print-
ing medium gives the effect of an old
mezzotint. "A Mountain Evening" is
likewise full of feeling and well warrants
its title.

Strong in character and unquestion-
ably a true portrait is "Grandmother
Malcolm," by Alexander P. Milne, of
Portland, Ore.

Harvey W. Minns, of Akron, O., is seen
at his best and in unmistakable Minns
style in "Poise" and "Portrait of Mrs.
Green."

Claude L. Moore, of Buffalo, has an
agreeable landscape in "A Lazy Brook."

" Cathedral Street — Baltimore," by H.

190

THE PITTSBURG SALON, 1917

Remick Neeson, is notable for its inter-
esting play of lights and shadows, while
his "Portrait of a Lady" and "A Neo-
politan" are worthy examples of tech-
nical excellence.

The influence of Baron de Meyer
is felt in Clifford Norton's "Bridal
Wreath," a still-life study of a Bisque
figure and budding twigs that possesses
a peculiar quality of shimmering light
seldom seen in a photograph.

"When Thieves Fall Out," by Harry
C. Phibbs, of New York, is a picture
quite out of the ordinary. The source of
illumination is cleverly concealed in the
center of a circular group of figures, the
nearer figures in deep shadow accentuat-
ing the light that plays on the faces of the
opposite group. This is one of the real
pictures of the show. "The Drinking
Song" and "Peasant Madonna," by the
same contributor, are too contrasty and
not equal to either the "Laughing Cava-
lier" or "Figure Study."

O. C. Reiter's greatest work for photog-
raphy is of a nature that does not admit of
its appearance on the walls of the Salon.
Throughout the year it is his duty, with
the assistance of his associates, to carry
on the business of the enterprise, and this
work on several occasions has consumed
the time which he otherwise would have
devoted to pictures, and undoubtedly
with the same success witnessed in the
four prints which we find under his name
this year. "The Brook — Early Morn-
ing" is delightful in the pearly atmos-
phere effect so peculiar to woodland
scenes in the early hours of day. "An
Old House by the Roadside," the subject
of another print, is a "homey" old place
nestled under big trees, while "The
Fountain" and "Play Time" are well-
arranged figure studies perfectly de-
scribed in their titles.

Mrs. William H. Rau, of Philadelphia,
sends "Roses," a large print of beautiful
quality and pleasing composition, which
shows a young woman absorbed in
admiration of the flowers named.

Few exhibitors have told their story so
well as Jane Reece, of Dayton O., in her
two prints, "The Head of Achilles" and
"The Torch Bearer," while hanging close
by is "The Mystic," by Margaret
Rhodes, of Chicago, a head that has much

the appearance of a wood-engraving in
good quality.

L. M. A. Roy, of La Crosse, Wis.,
places his Indian figure against a sunset
sky and succeeds admirably in "The
Last of His Race."

All of D. J. Ruzickas' pictures, except
one, deal with scenes in and about
New York. "Lower Broadway," "The
River, ""Erie Basin," and "The Brooklyn
Bridge" are shown with true considera-
tion, which has made them (and their
author) so well known. "Sunrise," a
solitary figure seated by the water's
edge, and "Park Lake," complete his
very attractive exhibition.

Nunya Seldes, of Pittsburg, whose
work in the nineteen-sixteen Salon was
received with great favor alike by press
and public, maintains her former stand-
ing in only one print this year. No. 230,
"Head Study," is in every way a most
creditable portrayal of an Arab-like head.
"Brooding" and the "Witching Hour"
are unpleasant in color and devoid of the
quality which distinguished this worker's
previous efforts in pictorialism.

Thornley Seabrook, of Franklin, Pa.,
is eminently successful in his portrait of a
young girl with appealing eyes, and a like
appreciation is due Otto C. Schulte, of
San Francisco, for his No. 225, " Portrait
of a Young Girl." "The Presidio Gate,"
also by Mr. Schulte, shows the Panama-
Pacific Exposition and the San Fran-
cisco Bay in the distance.

"The Doorway of St. Patrick's Cathe-
dral, New York," by William Gordon
Shields, is enriched by natural light and
refinement of tone, and shows a keen
sense of the correct placing of "spots"
in the manner in which he "caught" the
pedestrians present at the moment of
exposing the plate. Also worthy of note
is "Heart of the Woods," "Madonna of
the Shadow," and "Washday in Little
Italy," in each of which there is agreeable
composition and the stamp of artistic
personality.

Three large prints by D. R. Shiras, of
Pittsburg, show parts of the Panama
Exposition, of which No. 236, "Tower
and Main Entrance," is best, notwith-
standing that the print requires trimming
to restore the perpendicular of the

Columns. {Continued on page 207)

PITTSBURG SALON. 1917

THE WAY TO THE VALLEY"
BY W. H. PORTERFIELD
BUFFALO, N. Y.

PITTSBURG SALON. 1917
EARLY MORNING — BUFFALO HARBOR
By FRANCIS W. COWELL
LITTLE FALLS. N. Y.

PITTSBURG SALON, 1917

HISTORICAL BUILDING, BUFFALO'
BY DAVID W. BONNAR
BUFFALO. N. Y.

PITTSBURG SALON. 1917
CATHEDRAL STREET— THE DIP
By H. REMICK NEESON
BALTIMORE, MD.

PITTSBURG SALON. 1917

DOORWAY OF ST. PATRICK'S CATHEDRAL'
BY WILLIAM GORDON SHIELDS
NEW YORK

PITTSBURG SALON. 1917

DICKIE'S BREAKFAST"
BY EDWIN G. DUNNING
NEW YORK CITY

PITTSBURG SALON, 1917

"PORTRAIT— M. C B."
BY MARGARET DE M. BROWN
BROOKLYN. N. Y.

PITTSBURG SALON. 1917

THE CAVE SPRITE "
BY ARTHUR F. KALES
SAN FRANCISCO, CAL.

PITTSBURG SALON, 1917

COLONADE "

BY ALICE CHOATE

NEW YORK CITY

PITTSBURG SALON, 1917
HIS MAJESTY "
BY C E. BEESON
PITTSBURG. PA.

PITTSBURG SALON. 1917

" FIGURE STUDY "
By JOHN WALLACE GILLIES
NEW YORK CITY

PITTSBURG SALON, 1917
"THE THIRD FLOOR WINDOW"
By MARY W. WILTSE
PHILADELPHIA, PA.

PITTSBURG SALON. 1917

"CONCARNEAU. BRITTANY" (BROMOIL)
By A. D. CHAFFEE
NEW YORK CITY

PITTSBURG SALON, 1917
" LANDSCAPE"
BY W. H. RABE
OAKLAND. CAL.

PITTSBURG SALON, 1917

THE BUBBLE"

BY ARTHUR F. KALES

SAN FRANCISCO, CAL

PITTSBURG SALON, 1917
EDWARD HUTCHINSON"
BY EDWARD HENRY WESTON
TROPICO. CAL

THE PITTSBURG SALON, 1917

207

"The Swan," No. 239, by Albert F.
Snyder, of Utica, N. Y., at first inspec-
tion seems a trifle overprinted ; but when
it is remembered that there is ample
precedent for his color, as well as the
arrangement of the tree branch, to be
found in the work of the Japanese, the
objection vanishes and we are left to
enjoy the beauty of the composition.
"The Love Temple," a bit of Grecian
architecture, is seen in the shadowy light
of evening, in which all detail has been
subordinated to the main object.
"Brother and Sister," portrait heads,
occupy more space in the print than is
usually allotted to children, though
otherwise good, as is "Knitting," which
shows a young woman busy with yarn
and needles at a window. Compared
with last year's work, Mr. Snyder's
present exhibition shows decided im-
provement in every respect.

Albert B. Stephens, of San Francisco,
continues to work out a very interesting
design with "Shadows on the Knoll."
. "Niagara," "Claremont Inn," and
"The Woodland Dance," by Karl Struss,
represent widely different subjects exe-
cuted in his usual style. "Niagara" is
majestic; "Claremont Inn" is difficult,
and "The Woodland Dance" poetic.

Everitt Kilburn Taylor, of New York,
contributes again from his storehouse of
European material and sends "Santa
Maria della Salute." Light and airy as
the scene is naturally, Taylor presents in
his print much of the spirit commonly
associated with things Venetian.

Edward Henry Weston's reputation
as an artist-photographer is not depend-
ent on his success at the present Salon,
where he made his first appearance this
year. Magazine publishers long ago
recognized the value of the work that
came from his studio at Tropico, Cal.,
and gave him space accordingly. His
group of prints at the Salon are char-
acteristic, and, whether it be landscape,
portraiture, or figure compositions, there
is ever present the unmistakable quality
that, once known, requires no appended
signature to establish identification. No.
258, "Eugene Hutchinson," and No. 262,
"Light Play," are typically Weston and
must be seen to be appreciated.

" A Pose," by Leonard Westphalen, of

Chicago, lacks the halftones which make
"Far from the Madding Crowd" the
better print.

William H. Thompson, of Hartford,
Conn., discovers in the columns of "St.
Paul's — Boston" the material for a
poetical architectural study. Likewise,
though in different color, "The Capitol —
Hartford" is seen in the distance through
tree branches that lend a distinct decora-
tive element to the composition. "The
Stone Bridge," with a cluster of foreign-
looking houses at either end, is presented
in a manner that would do credit to an
etcher.

"Glimmering Shores," from Ernest
W'illiams, of Los Angeles, is a landscape
in delicate gray, where high horizon and
well-arranged foreground effect a pleasing
composition.

The five prints by Mary A. Wiltse, of
Philadelphia, demonstrate the pictorial
possibilities that exist in our home sur-
roundings. The prints are modest in size,
refined in presentation, and excellent in
choice of subject.

"The Third-floor Window" is a com-
bination of figure study at a window and
a landscape seen through the window, the
remarkable feature of the picture being
the successful combining of these ele-
ments while preserving their pictorial
value. As a child portrait," Salina" is
pleasing and natural, while "A Quiet
Moment" and "Morning Sunlight "have
individual charms quite in keeping with
the other pictures in this collection.

Sanborn Young, of Los Gatos, Cal., is
convincing in "Another Bit of Bleeker
Street," with its crowds of people and
lines of push-carts, evidently a compan-
ion piece to his last year's success.
"Burned-out in Augusta" is good as a
character study, but a better piece of
work is a print in pearl gray, entitled
"MissH."

Paul W'ierum's two waterscapes, "Sun-
set Haven" and "At Anchor," are even-
ing scenes across the water, where small
boats ride quietly and the setting sun
throws a soft light over all, the quality
of which is admirably depicted in the
prints.

"The City's Portals," by N. S. Woold-
ridge, of Pittsburg, is effective in the
interesting spaces and variety of curves

208

THE REMOVAL OF HYPO BY WASHING WITH WATER

formed by the arches of the portals.
"The Cedar Waxwing, " a natural history
subject, is pictorial also.

W. H. Zerbe, of Richmond Hill, N. Y.,
sends two excellent prints, "The Hill
Top," where two boys stand looking out

over a town which lies in the valley, and
"A> Character Portrait" of an old man,
strong in expression but slightly too
granular to represent good flesh texture.
W. H. Porterfield exhibits six prints.

THE REMOVAL OF HYPO BY WASHING WITH

WATER1

By A. VINCENT ELSDEN, B.Sc, F.I.C.

FROM the instructions usually given
as to the washing of photographic
negatives it would appear that there
is a good deal of misconception both as to
the quantity of "hypo" removed with
the plate from the fixing bath and the
ease with which it can be washed out.

It is not necessary here to go fully
into the theory of the operation, details
of which may be found in Ostwald's
Foundations of Analytical Chemistry, 2d
English edition, p. 15 ei sea. It will
suffice here to state that, in the absence
of absorption phenomena, the quantity
of "hypo" remaining in plate after suc-
cessive washings with the same volume
of water may be expressed by the
equation :

Xn = 1 j Xj

\m + a)

where x0 = quantity of "hypo" origin-
ally present, xn = quantity of "hypo"
remaining after n washings, n = number
of washings, a = volume of liquid re-
maining on the plate after each washing,
and m = volume of water used for each
washing.

In view of the fact that a photographic
plate has only a thin film of gelatin on
one side, it seemed unlikely that ab-
sorption would take place to any very
great extent, and hence it was probable
that the equation would apply in such a
case.

1 A communication to the Royal Photographic
Society of Great Britain.

It will be seen from a consideration of
the above equation that the quantity of
"hypo" left in a plate will be the smaller

the smaller the fraction

m-\-a

This frac-

tion will be the smaller the more perfectly
the plate is allowed to drain between each
washing, for by this means a is dimin-
ished, and by making m, the volume of
water used for each washing, large as
compared with a. The equation also
assumes that the period of each washing
shall be sufficiently long for a state of
equilibrium to be reached between the
"hypo" in the plate and the "hypo"
in the washing liquid — that is, that the
concentration of the "hypo" in the film
shall be the same as the concentration of
the "hypo" in the washing liquid.

If one calculates from this equation
the quantity of "hypo" left in a plate
after a few washings with a definite
volume of water, it will be found that
this is so small as to be negligible after
a surprisingly small number of washings.

The object of the experiments about
to be described was to determine how
closely practice would agree with theory,
and it will be seen that, within the limits
of experimental error, the washing of
plates agrees very well with the above
equation, and that plates may be very
quickly, and with a very small volume
of water, washed so far free from " hypo "
that the quantity remaining cannot be
detected by ordinary chemical means.

THE REMOVAL OF HYPO BY WASHING WITH WATER

209

Method of Experiment

An unexposed plate was placed in a
fixing bath and thoroughly fixed. The
strength of the fixing bath was approx-
imately that obtained by dissolving 4
ounces of "hypo" in 1 pint of water.
The plate was then removed from the
bath and immersed for one minute, with
gentle rocking of the dish, in a second
fixing bath of the same strength. It was
then removed, allowed to drain for a
definite time, and placed in a clean dry
dish. A measured volume of water was
then poured on to it and the plate rocked
in the dish for a definite time. The plate
was then lifted, allowed to drain for a
definite time into the dish, and then
placed in another clean dry dish. Each
successive washing was carried out in the
same manner precisely, the volume of the
water used, the period of each washing
and of each draining being the same
throughout each experiment. In each
case the final washing was for a period of
twenty minutes, with frequent rockings
of the dish.

Each portion of washing water was
transferred from the dish to a separate
beaker, the dish being well rinsed out in
each case, and the quantity of "hypo"
in each was estimated in the usual man-
ner by titration with a solution of iodine
of known concentration, using starch
solution as an indicator.

Some preliminary experiments were
made in order to determine the volume
of water for each washing and the
periods of washing and draining which it
would be convenient to use.

The details of some of the experiments
are now given in tabular form. In each
case the size of the plate used was 3 J by
2\ inches. The volume of water used
for each washing was 1 fluid ounce, and
the period of draining after removal from
the fixing bath and between each washing
was thirty seconds. A column is added
showing the theoretical quantity of
"hypo" which should have been re-
moved by each washing on the assump-
tion that the equation given above holds
true.

Experiment A. — Volume of solution
removed by plate from fixing bath was
0.71 c.c, containing 0.0806 gram of hypo.

1 . Weight of Hypo Removed by Each Washing, in

Grams

No. of Period Weight of Weight of hypo

washing. of washing. hypo found. calculated.

1 1 minute 0.0732 0.0786

2 1 " 0.0068 0.0020

3 1 " 0.0006 0.00005

4 20 minutes nil

2. Weight of Hypo Remaining in Plate After Each

Washing

After

washing Weight of hypo.

Xo. Found. Calculated.

1 0.0074 0.0020

2 0.0006 0.00005

3 nil 0.000001

Hypo found per square
inch.
Grams. Grains.

0.00084 0.013

o.oqooT o.qoi

nil nil

Experiment B. Volume of solution re-
moved by plate from fixing bath was
0.86 c.c. containing 0.0974 gram of
hypo.

Weight of Weight of hypo
hypo found. calculated.

1. Weight of Hypo Removed by Each Washing, in

Grams
No. of Period of

washing. washing.

1 2 minutes 0.0937 0.0945

2 2 0.0035 0.0028

3 2 0.0002 0.00008

4 20 " nil

2. Weight of Hypo Remaining in Plate After Each

Washing
After Hypo found per square

washing Weight of hypo. inch.

No. Found. Calculated Grams. Grains.

1 0.0037 0.0029 0.00042 0.006

2 0.0002 0.00008 0.00002 0.0003

3 nil 0.000002

Experiment C. Volume of solution re-
moved by plate from fixing bath was
0.99 c.c, containing 0.1113 gram of
hypo.

1. Weight of Hypo Removed by Each Washing, in

Grams
No. of Period of Weight of Weight of hypo

washing. washing. hypo found. calculated.

1 3 minutes 0.1072 0.1076

2 3 0.0039 0.0036

3 3 0.0002 0.0001

4 20 " nil

2. Weight of Hypo Remaining in Plate After Each

Washing
After Hypo found per square

washing Weight of hypo. inch.

No. Found. Calculated. Grams. Grains.

1 0.0041 0.0037

2 0.0002 0.00012

3 nil 0.000004

0.00047 0.007
0.00002 0.0003

Experiment D. Volume of solution re-
moved by plate from fixing bath was
0.92 c.c, containing 0.1043 gram of
hypo.

210

THE REMOVAL OF HYPO BY WASHING WITH WATER

1 . Weight of Hypo Removed by Each Washing, in

Grams
No. of Period Weight of Weight of hypo

washing. of washing. hypo found, calculated.

1 5 minutes 0.1010 0.1010

2 5 0.0031 0.0032

3 5 0.0002 0.0001

4 20 " nil

2. Weight of Hypo Remaining in Plate After Each

Washing

After Hypo found per square

washing Weight of hypo.

No. Found.

1 0.0033

2 0.0002

3 nil

Calculated.

0.0033
0.0001
0.000003

inch.
Grams. Grains.

0.00038 0.0058
0.00002 0.0003

Discussion of Results

It will be seen that in no case, except
Experiment A, does the amount of hypo
removed by each washing, as found by
experiment, differ from that calculated
from theoretical considerations by any
very large amount. There is, however,
a steady improvement in the agreement
between the found and calculated quan-
tities as the period of each washing in-
creases. This will be clearly seen from
the following table, which shows the
percentage of the quantity theoretically
possible which was removed by a first
washing for different periods of time:

Period of washing .12 3 5 min.
Percentage of theo-
retical removed . 93.1 99.1 99.6 100 p. c.

This table shows that a certain period
of time is necessary to enable equilibrium
to become established between the hypo
in the plate and the hypo in the washing
fluid. It will be seen that equilibrium is
nearly reached in two minutes, but is not
quite complete until five minutes' rock-
ing in the dish has been given. There is,
however, very little advantage to be ob-
tained in practice by prolonging the time
of each washing beyond two minutes.

All the experiments show that after the
third washing the quantity of hypo re-
maining in the plate is too small to be
detected by ordinary chemical means,
and the calculated results confirm this.

It will be seen that the weight of hypo
carried by the plate from the fixing solu-
tion is slightly different in each experi-
ment. This was to be expected, and was
due to the different plates not draining to
the same degree, although the time of
draining was the same in each case. The
reason for this is that the back of the
plate is slightly greasy, and hence the
liquid does not drain uniformly from it,
but tends after a certain quantity has
run off to remain adhering to the plate in
drops. Thus no two plates will drain to
precisely the same extent in the same
period of time.

This does not, of course, vitiate the
experiments in any degree, and it will be
seen that the volume of fixing solution re-
maining on a 3| x 2\ plate after 30
seconds' drainage will not as a rule
exceed 1 c.c.

The temperature of the solutions and
the water used for washing during these
experiments was about 60° F. It is
probable that the time necessary for the
attainment of equilibrium between the
hypo in the bath and that in the washing
water will be to some extent affected by
temperature, in the direction that the
higher the temperature the shorter this
period will be.

Conclusions

From the results of these experiments
the following conclusions can be drawn :

1. The rate of removal of hypo from
thin gelatin films by washing with water
is very closely in accordance with that
arrived at on purely theoretical grounds.

2. Absorption effects, in the case of a
thin gelatin film, are very small.

3. Plates can be washed for all prac-
tical purposes free from hypo by four
successive washings of two minutes with
comparatively small volumes of water,
with intervening draining.

It is proposed to extend these experi-
ments to the case of papers.

THE FLASH-LIGHT IN PORTRAITURE

THE greater appreciation and in-
creasing use of flash-powder shows
that the photographer is quick to
realize the possibilities of the use of what
we may call home-made sunlight. A
flash-light is practically an instantaneous
burst of bright sunshine. It has one
great advantage over sunlight in that it
can be produced in places where sunlight
never penetrates : We can make our sun-
light wherever and whenever we wish.

It is to be expected that the sudden
production of a flash of light as brilliant
as sunshine, in comparative darkness,
must have a very considerable effect
upon the eye — an organ which is as sen-
sitive as it is wonderful. While the eye
can accommodate itself readily to differ-
ences in illumination as much as a million
to one, which is equivalent to bright sun-
light out-of-doors and a dark night out-
of-doors, the changes are usually made
more or less gradually. When a change
in illumination of anything like this range
is made suddenly, some unusual effects
must be produced upon the eye.

To find what these effects are, some
very interesting experimental work has
been carried out at the Research Labora-
tory of the Eastman Kodak Company.
It is well known that the eye seeks to
protect itself against sudden changes of
brightness. One way is by the involun-
tary contraction of the pupil of the eye,
and a further protection is the closing of
the eyelid by a wink. These are known
as reflex actions and we have no control
over them. A study of this reflex action
of the eye must be of considerable inter-
est to the portrait photographer who does
any flash-light work.

It has been found by careful experi-
ments that the reflex action of the eye
can be photographed and actual meas-
urements made of these movements.
This is done by the aid of a motion-
picture camera, which can be speeded up
so that pictures can be made at the rate
of thirty- two per second.

Focussing the eyes in daylight, the
motion-picture camera is started and a
flash set off fairly close to the subject.
The results are shown in Fig. 1. The

pictures were made at the rate of thirty-
two per second, the actual exposures,
however, being only e'jth of a second
each, as the shutter (180 degrees) opening
is closed for -^ th of a second while a new
portion of the film moves into place for the
next exposure. In the first three pictures
we see the eye in its normal state. The
flash was then fired, and its closeness to
the subject is shown by the over-exposure
of the fourth and fifth pictures, which get
the full benefit of the flash, which lasted
for the time of two exposures and two
intervals and was therefore equal to
yg-th of a second. By this method there
is, of course, a possibility of the introduc-
tion of a slight error, in case the flash
commences while the shutter is closed,
though this error may be reduced to a
minimum by making the shutter-blade
opening as large as possible, thus reduc-
ing the pull-down interval.

As before stated a sudden change in
illumination produces some unusual
effects on the eyes, and in Fig. 1 we have
the pictures of what actually happens.
The reflex action, by means of which the
eye seeks to protect itself, is shown in the
sixth, seventh, eighth, and ninth pict-
ures, where we see the eyes gradually
close and open in a wink. In the tenth
picture they are practically normal
again, though it will be one or two
minutes before they are absolutely
normal as in the first three pictures.

It will be noticed that the reflex ac-
tion or wink did not begin until the third
exposure after the flash had been fired,
so that the subject faced the light for
a little more than two exposures and the
time intervals between, a total of about
Y2-th of a second after the flash was fired.
The wink lasted for £th of a second, or
a period of time during which the camera
recorded four exposures. The time for
this reflex action to occur varies slightly
with different people, but in no case was
it found to be less than y^th of a second.
There is a possibility that the natural
wink of the eye may occur simultaneously
with the flash, but it would be impossible
to foresee or prevent it. Such a coinci-
dence would be extremely rare.

(211)

212

THE FLASH-LIGHT IN PORTRAITURE

Since the wink or reflex action does not
occur until TVth of a second after the
flash has commenced, a flash powder
that has an effective speed not slower
than yVth is sufficiently rapid for
portraiture.

An objectionable effect seen in some
flash-light work, but not actually pro-
duced by the flash itself, is what is known
as the flash-light stare, so well repro-
duced in Fig. 2. This is produced by
another of nature's efforts to adapt her-
self to different conditions. Just as when
the eye is subjected to a sudden increase
in brightness it will close the iris and the
eyelid to keep out the light, it will work
the other way when the illumination is
reduced below normal. In the effort to
see better at a lower level of illumination
the iris becomes dilated and the eyelids
and eyebrows raised.

Fig. 3 was made almost immediately
after Fig. 2, the eyes being brought back
to normal by pointing the light from an
electric lamp at the face, and producing
an illumination approximating weak day-
light, which had the effect of contracting
the dilated pupils and drawing down the
eyelids to their normal position, usually
seen in ordinary daylight. A good light
must be maintained until the moment of
the flash-light exposure, the eye must not
be focussed into any dark shadow, and
care must be taken that the shutter is not
opened for any appreciable time before
or after the flash, in order to avoid a
double image, made possible by the
auxiliary light, should there be any move-
ment of the sitter or camera. Such a
double image may be entirely prevented
by the use of an arrangement which
opens the camera shutter and sets off a
flash at the same time.

Another very interesting piece of work
which has been carried out at the labo-
ratory is that of measuring the speeds of
different flash-light compounds. There
are several methods of doing this. One
of them is to touch off a charge of powder
behind a sheet of opal glass covering a
circular opening in an opaque screen, in
front of which a metal disk with a radial
slit about one-fifth of an inch wide is
revolved at a given speed. The disk is
photographed at the moment the flash
powder is fired, and when the plate is

THE FLASH-LIGHT IN PORTRAITURE

213

developed the angle of the sector formed
can be measured and the speed of the
flash easily calculated.

The shutter-testing apparatus at the
laboratory will make very accurate
measurements, but is not so convenient
as the motion-picture camera method,
which is extremely simple. The camera
is set up in a comparatively dark room.
It is operated by a motor and made to
run at a constant speed, taking thirty-
two pictures per second. The powder to
be measured is ignited behind an opal
glass screen and its intensity and dura-
tion recorded as faithfully as the smile
of a movie favorite.

Figs. 5 and 6 show the negatives ob-
tained by such exposures — Fig. 5 being
the record of a fast-burning powder and
Fig 6 that of a slow-burning powder. If
we measure the density — the amount of
the silver deposit on each square — and
plot it off against time, we get the time-
intensity curve shown in Fig. 4, the curve
with the short base representing the
quick flash and the longer-based curve
the slower flash. Each square or picture
represents a time interval ^Vd part of a
second, so that the total duration of the

flash may be taken as ^ds of a second,
and -^ds of a second respectively. In Fig.
6 we have the slow flash showing nine ex-
posures, indicating that the flash lasted
^9o-ds of a second. From Fig. 5 we see that
the flash had a duration of four pictures,
or xrds of a second. A reference to the
curves in Fig. 4 shows that both powders
reached their highest intensity almost
immediately and during the second ex-
posure. Owing to the limitations of the
half-tone reproductions we cannot dis-
tinguish the depth of intensity in Fig. 5
and 6, but they are clearly shown in the
plotted curves in Fig. 4. The last four
or five pictures in Fig. 6 show a rapid
and marked falling off in light intensity.
The greatest density — highest illumina-
tion— is reached in both cases in from
^•Vds to -fy^s of a second.

The effective speed of most flash-
powders is usually faster than y-rth of a
second, though the speed may drop with
age, especially if the powder becomes
damp. In this connection, the meaning
of the word "effective" will be clear on
reference to Fig. 6. It is seen that the
last three or four images are very weak,
compared with the second or third;

214

THE FLASH-LIGHT IN PORTRAITURE

FIG. 5

that is to say, very little impression is
made on the film during the later stages

of the flash. In such a case the effective
speed may be considered to be about
twice the actual speed.

Working with a strong auxiliary light
while focussing or combining flashlight
with daylight and using a fast flash-
powder, both the stare before and the
wink after the flash can be eliminated,
and results can be produced that are
quite as good as those made by daylight
alone or any other illumination.

3 4 S 6 7 f

THIRTY SECOND PARTS OF A SECOND

CARBON PRINTS UPON CELLULOID: BY SINGLE
AND DOUBLE TRANSFER

By "CHEMIST"

THE demand for carbon prints upon
celluloid has increased considerably
during the past two or three years.
Although many persons have tried this
beautiful process, few have succeeded so
far as to produce with certainty a dozen
prints without blistering, and many have
given up this branch of carbon printing
for this reason. It is proposed in this
article to give a reliable method of work-
ing, so that the prints will be uniform
and free from blisters.

In the first place the celluloid should
be sufficiently stout to prevent buckling,
with a very fine matted surface on one
side. The sensitizing of the carbon
tissue, too, should be done with a solu-
tion of suitable strength, giving ready
solubility. The drying of the tissue
should be carried on in a perfectly dark-
ened room, and the sensitizing under
yellow light. The cutting up of the
dried tissue must be done under a deep-
colored orange light. These precautions
are necessary to obtain pure whites in
the high lights and a freedom from color
in the safe edging. It is here assumed
that the reader has some knowledge of
the carbon process, so that the directions
given may aid those who have failed in
the production of carbon prints upon
celluloid.

The sensitizing solution is composed
as follows:

Bichromate of potash ... 4 ounces.
Carbonate of ammonia ... 80 grains.

Glycerin 30 drops.

Salicylic acid (dissolved in

hot water) 30 grains.

Filtered water (or distilled

water) 100 ounces.

The salicylic acid may first be dis-
solved in 4 ounces of water, adding 96
ounces to make up the 100. As soon as
the above ingredients are added and
completely dissolved, filter the solution
into a clean bottle through absorbent
cotton. All is now ready to sensitize the
carbon tissue.

Pour this solution into a tray about
20 x 24. Immerse a sufficient quantity
of tissue in the sensitizer, and carefully
unroll it beneath the liquid. Just as
soon as it lays flat, turn it over face
downward and allow it to remain just
three minutes. Then remove it, lay face
downward upon a clean slab of plate
glass, and use the squeegee upon the
back until all the superfluous solution
has been removed. Wipe the back of
the tissue carefully and lightly with a
piece of clean rag. Lift it from the glass
slab by the top corners, and suspend it
by wooden clips in a darkened room to
dry. Just as soon as the tissue is thor-
oughly dry it may be cut up for printing.
The sensitizing solution remaining should
be poured into a clean bottle, corked up,
and kept in the dark-room for future use.

Carbon tissue sensitized as above will
keep well for two weeks if stored under
pressure. Assuming that the tissue has
been exposed beneath a negative and is
ready for development, the following
substratum must be at hand, having
been previously prepared. It is com-
posed as follows:

Gelatin (Heinrich's hard) . . 2 ounces

Water 12 ounces

Sugar 2 drams

Allow the gelatin to soak for an hour.
Meantime prepare in a separate vessel a
solution of

Chrome alum 15 grains

Water (hot) 1 ounce

The gelatin, water, and sugar should
be put in an earthen vessel, or prepared
in a small oatmeal kettle (popularly
known as a double boiler), so that the
water boils around the pot or inner vessel
and causes the liquefying of the gelatin.
As soon as the gelatin is well melted
and very hot, the hot chrome alum solu-
tion may be added drop by drop, stirring
the gelatin solution vigorously at the
same time. Keep up the stirring for a

(215)

216

CARBON PRINTS UPON CELLULOID

short time after the last of the chrome
alum solution has been added. Then
filter a small quantity of this into a cup
or small pot, and as soon as it has cooled
down slightly it will be ready for use.

Have at hand a mixture of acetic acid,
one ounce; water, six ounces. Take the
pieces of celluloid, cut to a size somewhat
larger than the tissue to be transferred,
and rub the matt surface well with a
piece of canton flannel, dipped into the
acetic acid mixture, until the surface is
quite clean. Rinse under the faucet,
and lay in a tray of clean water for use.
For single transfer, take a piece of the
celluloid in the left hand by one of the
top corners, and pour on some of the
gelatin substratum while warm, having
the exposed tissue soaked in clean water.
Lay it upon the gelatinized celluloid,
which must be in position on the squee-
gee board. Directly upon the top of the
tissue place a piece of India-rubber cloth,
smooth side uppermost. Then apply
the squeegee gently at first, increasing
the pressure until all the excess of sub-
stratum has been squeezed out. Lift the
cloth carefully, wipe off all the remaining
substratum with a wet sponge, and put
the print aside until the remaining pieces
of exposed tissue have been treated in a
similar manner. In a quarter of an hour
development may be proceeded with.

This is best commenced by laying the
prints in cold water to allow them to
soak for about one minute. Then place
them in warm water, and allow to soak
until the tissue begins to loosen. Now
lift the tissue by one corner, throw it
aside in the waste basket, and proceed
with the development by throwing warm
water over the surface of the print with
the right hand, holding the print by one
corner with the left hand.

In the course of a short time the print
will be seen to be fully developed. It
must now be carefully rinsed in a stream
of gently running water, and placed in a
tray containing a solution of common
alum (not chrome alum), three ounces of
alum to one hundred of water. Allow
the print to remain in this for five min-
utes only. Then, after soaking in another
tray of clean water for five minutes, the
print may be washed in a gentle stream
of water and hung up to dry.

It will be observed that there is no sign
of blistering or lifting of the film, and
assuming that the exposure has been cor-
rect, there will be no difficulty in produc-
ing one dozen or one hundred celluloid
prints in any color, everyone in perfect
condition.

To produce carbon prints upon cellu-
loid by double transfer, the process must
be modified. Clean the celluloid as pre-
viously described, rinse under a faucet,
drain, and while still wet pour over the
matted surface the same substratum,
draining the remainder back into the
containing vessel. A large piece of cellu-
loid may be cleaned and coated in the
same way, four 5x7 pieces being cut
therefrom when dry. As soon as the
pieces of celluloid are coated they must
be laid aside to dry in a clean rack.

When it is desired to make a double
transfer the following directions must be
carried out. The carbon print is devel-
oped upon a flexible support as in paper
transfer, and dried. This being done,
take a piece of the celluloid with its dried
coating of substratum, cut it to a size a
little larger than the print, and place it to
soak in the 3 per cent, alum solution
described above.

Meantime place the flexible support
containing the print into clean water
to soak for about fifteen minutes. The
celluloid may be removed from the alum
bath and washed under the faucet. It
must now be coated once more with the
hot substratum, laid upon the squeegee
board, and the wet print on the flexible
support laid upon it. Cover this with
rubber cloth as above mentioned, and
apply the squeegee carefully and lightly,
gradually increasing the pressure.

After about eight or ten strokes of the
squeegee remove the cloth, and wipe the
back of the support carefully until it is
free from gelatinous solution. Then very
carefully lift the celluloid and support to-
gether, starting this lifting by inserting
the tip of the blade of a knife at one of
the corners. Now suspend the celluloid,
with the attached flexible support, to
dry. When dry the support will come
away freely from the celluloid. All that
is necessary now is to place the celluloid,
which will now have the print firmly
attached to it, into a tray of warm water

THE CARBON PROCESSES FOR THE FINISHING ARTIST 217

for half a minute, then pass it through a
tray of clean water and suspend to dry.
As soon as the drying is complete it will
be seen that the print is perfect in every
particular.

The print may now be trimmed, ready
for delivery.

The substratum will keep in good
working condition for about one week by
the addition of a few drops of 10 per
cent, carbolic acid solution. It may be
kept in the inner vessel of the oatmeal
kettle and melted at any time when re-
quired for use.

THE CARBON PROCESS FOR THE FINISHING

ARTIST

By ARTHUR L. CHERRY

OF all the many branches in pro-
fessional work none offers so much
freedom of expression and individ-
uality as that known as "finishing." It
is rather to be deplored that the ma-
jority of artists have their "base work"
made for them by the printer, usually in
the bromide or platinotype processes,
with their consequent limitations of
color. This must inevitably produce a
certain amount of sameness in the re-
sulting work. Therefore no artist should
permit himself to limit his expression by
always working from one base. Cer-
tainly the colors obtainable by the two
processes mentioned will afford a per-
fectly satisfactory ground for most ordi-
nary effects; but where the finisher has
some special "scheme" in mind the
carbon process, with its infinite variety of
colors and surfaces, stands preeminent.
A few suggestions are here given as to
the possibilities of the carbon print as a
means of helping the finishing artist to
get out of the rut.

Some of the brighter color tissues are
particularly attractive for portraits in a
high key, such as Italian green and red
chalk, printed of course from a negative
not too delicate in contrasts. These
carbon sketches often require little or no
finishing, but when used as a base for
more or less elaborate working up, some
extremely beautiful effects can be ob-
tained. The finishing may consist of
air-brush work combined with the aid of
suitable stencils, or powdered crayons of

a color to match the print. When line
work is introduced ordinary pencils are
obviously useless, and the medium em-
ployed should be brush and color.

In working with water colors it must
be borne in mind that any bright trans-
parent colors must have a little black
mixed with them, otherwise the result
will be raw-looking and will not match
the print correctly. For full-length or
three-quarter figures, where it is desired
to introduce a picture background, a
good effect is obtained by air-brushing
a light tint all over the print, and upon
this painting the sketch in water colors.
The high-lights should be rubbed in with
eraser, and the scraper used for sharper
touches. The use of the tint is obvious
where white dresses are in evidence, as it
affords a ready means of getting relief by
rubbing or scraping away those portions
which have a tendency to get lost against
the background. Another good color
tissue, very suitable for this delicate style
of portrait, is that known as gray-green,
using a white support.

The two-color portrait consists of a
black image upon a tinted ground, usually
cream, black and white crayons being
used for the finishing. Occasionally the
flesh color is suggested with a little red
upon the cheeks and lips, but the suita-
bility of this is questionable. Beyond
this brief explanation there is no need
for any further description as to "how
it is done." This is a matter for the
artist. Of course, in unskilful hands the

218 THE CARBON PROCESSES FOR THE FINISHING ARTIST

results can easily be bad, as it is obvi-
ously more difficult to finish a portrait in
two colors than in monochrome. But
with a tasteful selection of the two colors
for the portrait and background, what
possibilities the artist has for producing
something far removed from the usual
thing! Considering the range of tissues
and supports at his command, there is no
limit to the variety of effects he can
create. This class of portrait has been
exploited with much success, chiefly in
large heads, but even for quite small
work, with three-quarter or full-length
figures, some very novel pictures can be
produced. The supports generally used
are Michellet, or crayon papers. These,
of course, can be obtained ready coated
and in any color.

Portraits made to resemble sepia etch-
ings require more than ordinary skill in
the finishing, and should certainly com-
mand more than ordinary prices. The
whole of the picture, with the exception
of the flesh portions, is expressed in pen-
and-ink. This is an extremely difficult
medium to use in conjunction with a
photograph, by reason of the fact that
one is a picture expressed by line and the
other by tone, and unless the artist is
accomplished in pen-and-ink drawing he
would be well advised to practise per-
sistently before attempting to finish a
portrait in this way.

The whole of the photograph is very
lightly printed (the face excepted) — so
light, in fact, as to be only just visible — -
the object being merely to ensure cor-
rectness of drawing. Over this the
proper scale of tones is rendered entirely
by line work. A guide print of proper
depth must be referred to for securing
the exact relationship of the varying
tones. The "style" of line used requires
to be of the fine order rather than bold
and open. Any good etching will show
at once the "technic" necessary. In
sketching draperies it is best to eliminate
a number of the small accidental folds
and creases usually in evidence. If the
larger main lines and folds are secured
first it will be a simple matter to add a
few of the secondary ones as may be
considered desirable. In addition to the
drapery and background being rendered
in line, a few discreet touches on the hair

will help to destroy the feeling of tone.
The color of the tissue used is of some
importance to secure the resemblance to
an etching, and that known as standard
brown will be found quite suitable, using
as a support a cream paper with not too
rough a surface. The ink used should
match the print exactly, and usually it
will be found necessary to mix a little
water color with the ink. To complete
the picture, dry-mount on to a large
sheet of drawing paper, allowing a gen-
erous margin, plate-sink the mount, and
attach the signature in pencil, not in ink.
A further improvement is the addition of
a neat little margin sketch in the bottom
left-hand corner within the plate-mark,
the sketch having some connection with
the picture itself. This should be in
ink, and rather light in treatment.

The practice of oil tinting by rubbing
on the dry colors is quite well known, but
by using a carbon print as a base some
very striking effects can be secured,
almost unobtainable in water colors. For
architectural, landscape, and genre sub-
jects this method is particularly useful.
To those not having practised it the fol-
lowing suggestions may be helpful: For
an interior architectural subject use en-
graving black tissue on a cream support,
and coat the whole of the picture with
Vandyke brown oil color. Do not put
enough to obscure the whole of the tones,
but a mere tint of warm color. The
simplest way to work is to put too much
on at first and then to rub down to the
tint desired, as this is much easier than
attempting to build up the color. Next
rub in the high-lights where required
with a hard eraser, but this is better
accomplished after the original coating of
color has had an hour or so to dry. The
putting in of the high-lights and half-
tones must be executed with considerable
restraint. The whole aim is to concen-
trate the lights and shadows into simple
masses, and thus to destroy, to a certain
extent, the wearying amount of detail
and the sort of //64 feeling so charac-
teristic in subjects of this kind.

This manner of working results in a
very pleasing rendering of stone. Warmer
colors may be used, if it is thought de-
sirable, but those suggested will probably
be found the best. The method is so

THE CARBON PROCESSES FOR THE FINISHING ARTIST 219

VORTOGRAPHY:

ALVIN LANGDON COBURN

Mr. Alvin Langdon Coburn, whose photographic work has long been so well known, has applied
the principles of Vorticism to the camera, and invented a new art, called Vortography. An exhibition
of his vortographs, together with some paintings by him, was recently on view at the Camera Club,
London. Replying to a criticism, he writes: "I affirm that any sort of photograph is superior to
any sort of painting aiming at the same result. . . . Where else but in photography will you
find such luminosity and such a sense of subtle gradations? I took up painting as one takes up any
other primitive pursuit, because in these days of progress it is amusing to revert to the cumbersome
methods of bygone days, that one may return to modernity with a fuller appreciation of its vast
possibilities. . . . People have been painting now for several years; it is no longer a novelty; but
this will go down to posterity as the first exhibition of Vortography."

much under the worker's control that
any attempts to carry it to unreasonable
limits must be guarded against in order
to avoid anything like freakish effects.
For autumn rendering in a landscape a
green tissue should be tried for the print
itself, the effect of autumn being ob-
tained by the use of a suitable warm oil
color sparingly used. The writer has
seen some very beautiful marine studies
similarly treated. The pictures were
printed in Italian green. The sea por-
tion was given a slight tint of lampblack
in order to lower the rather vivid color of
the tissue, and at the same time being a
means of increasing the value of the wave
crests, which were rubbed down to white;
while the rocks were treated with the
merest suggestion of a warm-brown color
This description would imply that the
coloring may be carried to any extent;
but, as has been pointed out, there is a
danger of overdoing it, thus producing a
meretricious result. The best effects are

obtained by the use of two colors only —
the color of the tissue and the trans-
parent oil paint. For moonlight scenes
a suitable color is obtained from a mix-
ture of Prussian blue and lampblack,
and employed over a black image. The
Prussian blue alone is too raw, hence the
necessity for adding lampblack. It is not
essential to mix them on the palette, but
to apply a little of each color to the
picture and rub them well together. The
rough transfer papers will be found most
amenable to the oil paints. Finally,
after due time has elapsed for the color
to dry, the picture may be varnished
with any good picture varnish, an im-
provement for any kind of oil-finished
picture, but particularly for those sub-
jects in a low key. Needless to say, it is
only by persistent effort, ignoring fail-
ures, and improving upon successes that
the ideal result will be attained. — British
Journal of Photography.

PRACTICAL PAPERS ON STUDIO WORK AND METHODS

Good Medicine

Some fifteen years ago there were two physi-
cians who were starting their career, and after
watching the results of the work of other physi-
cians and surgeons, and after making some mis-
takes themselves, they came to the conclusion
that there was not as much time devoted to
diagnosis as there was to the operation or treat-
ment, and that the reason there were so many
failures and slow cures was because only about
one-quarter of the time was put into the diag-
nosis as was put into the operation. Working
on that theory, they decided to revise the pro-
portion, and they began putting their few
patients through a most vigorous and thorough
examination before they prescribed to use the
knife. They divided the work, and one would
diagnosticate a case first and then the brother
would make his diagnosis, then both together
would compare notes, and, if necessary, make
a third diagnosis together. The results soon
began to justify this theory, for, on account of
the unusual care and amount of time devoted to
diagnosis, when the time came to operate they
found that they knew exactly what they were
going to find and how they were going to cor-
rect it, and the actual work was done in a shorter
time with less strain to themselves and less pain
and danger to the patient. Soon their opera-
tions and cures began to gain fame throughout
the country and their practice grew rapidly.
Some said that they were workers of miracles,
and they were haled as the most successful sur-
geons of the country. They replied that they
were no better than thousands of others, but
that they conscientiously followed their original
plan of an exhaustive diagnosis and that they
had become so expert in that field that they
practically made no mistakes. Their practice
is now so large that they have a corps of com-
petent physicians and specialists to help them,
besides a large office force and a big hospital
that takes care of their patients. They are the
Drs. Mayo, of Rochester, Minn.

They succeeded because they knew all about
their business before they acted. They knew
(220)

what they were going to do and what they were
trying to accomplish before they did any work.
They did in a profession that thing that keen
business men had pronounced to be the only
safe and sane way to conduct business in con-
formity with modern methods and modern
competition. And they succeeded. Now other
doctors from all over the country and all over
the world are studying their methDds and follow-
ing their lead.

Photography is a profession and skill is the
principal article in the transactions. The mate-
rials throw it into the commercial field to a cer-
tain extent, but the ability of the operator and
the fame of his skill lifts it above the realm of
the purely commercial. But if a doctor can
apply modern business methods successfully,
why cannot a photographer? He can if he will
only believe it. The photographer should prac-
tise diagnosis, and here are some of the things
he should know before he puts a plate in the
holder: The disposition of the subject, the edu-
cation and the state of development of the taste
for good work, the average amount of returns
of extra negatives exposed on all the orders of
the past year, the average amount paid for pic-
tures from ladies, from children, from men, the
susceptibility of the subjects to flattery, and
whether such flattery should be subtle or broad,
the influence that could be obtained through
each subject — in fact, everything that will have
its effect on the quality of work that should be
made, and the amount of money that can be
obtained.

To arrive at this stage it will mean a study
of the business on the basis of averages to know
the amount of the average of all the sittings,
then of all resittings, also the income from dupli-
cate orders, and enlargements and frames, and
any other department that yields a revenue.
With the average per dozen constantly in mind,
then the effort to keep up to the average, or to
exceed the average, is a stimulus that will be
found extremely beneficial. With actual infor-
mation of the yield of extra negatives, and the
profit yielded by different numbers, the loss of
material is decreased and the number used will

THE STUDIO

221

be kept near as possible to the highest yield.
The number of people who come into a gallery
and the proportion who buy pictures is well
worth study. If one out of ten has_ a sitting,
then, if the average attendance of thirty a day
can be raised to sixty a day, the number of sit-
tings is doubled. Advertising in some form is
necessary to get them there. Effort and skill
are necessary to get an order from the proper
proportion of all who come in the door.

Statistics show, according to Mr. G. \V.
Harris, that every inhabitant of this country
has his picture made once in about twenty
years. That has got to be remedied. If a con-
certed effort is made to bring photography before
the public in such a favorable light that this
average can be lowered, it will make a tremen-
dous increase in the volume of available busi-
ness. Who is going to do it? It is certain that
the dry goods merchant isn't. It is certain that
nobody is going to do it but the photographer
and the dealer or manufacturer directly inter-
ested in the photographic business. It is also
certain that it will not be accomplished except
by constantly bringing photography before the
public in attractive forms through advertising,
personal contact, and publicity of all kinds.
The average must be lowered, and the advertising
problem is one that concerns every individual
in the business, for what will benefit some will
eventually benefit all, and a general wave of
energetic progressiveness will increase the aver-
age for everyone.

Can it be done? We are decidedly of the
opinion that it can. Astute business men in
other lines have increased the use of numberless
articles that people thought had reached their
maximum consumption. The advertising pages
of the papers and magazines show how it was
accomplished, and the publicity bureaus, main-
tained by a number of industries, show what can
be accomplished by systematically calling atten-
tion to any article. The National Association
might well establish some such bureau, whose
duty it would be to supply the press, both daily
and periodical, with interesting literature and
illustrations, bringing photography to the atten-
tion of the public. But as such a movement is
only one of our "pipe dreams," we are not
pressing that point now, but are trying to stir
up a desire for some systematic way for each
individual to study the little things that will
help to build up better orders and better profits.
The study of details is "good medicine" for any
business. The having of this information at
one's finger ends is also "good medicine," for
its moral effect is pronounced in the rousing of
the ambition to make every stroke tell and every
job keep up to, or go ahead of, the average. It
is the total of the constant strokes that make
the big impression, and it is the little excess on
each order that brings up the average. It is the
pushing of the profitable parts of the business
that makes the good showing at the end of the
year. — Trade News.

The Care of Photographs

We are afraid that in the majority of cases
photographers are lacking in respect for their

productions. We do not mean that they do not
esteem the artistic qualities highly enough, but
they do not appear to consider a photograph,
as such, is worthy of as careful preservation as a
drawing or engraving. It is true that when a
considerable sum has been expended in "working
up, " a print is usually honored with a frame, but
in the case of an ordinary print which can be
replaced at small cost it is submitted to the ordeal
of the reception room without the slightest pro-
tection. The sight of this cannot fail to react
upon the mind of the sitter, who will naturally
wonder why pictures for which such a high price
is asked are treated in so negligent a manner,
and it will also cause a doubt as to whether they
are worth the amount demanded for them.

Beyond this there is a probable loss of business
in the way of frames, cases, portfolios, or other
contrivances for the effective display or safe
keeping of the portraits. It is true that a certain
proportion of portrait photographs do find their
way to the picture framers, but not one-tenth of
the framing orders which might be executed by
the photographs are ever secured by him. It is
moreover essential that good work to be shown to
advantage should have an entirely appropriate
setting and not be left to the mercy of the assist-
ant at the bargain counter of a department store,
who is only anxious to sell that particular failure
in frames on which he obtains the largest com-
mission. It would be a good thing if the photog-
rapher worked upon the assumption that his work
is not finished until it is framed, and to instil that
idea into the mind of his customer, who, in most
cases, will fall in with it readily, provided that
frames costing only a modest amount are sub-
mitted in the first place. The mouldings should
be simple but of good quality, and the frames
should fit the photographer's standard sizes of
mount, no cut out or extra mount being per-
mitted. In some cases the best effect will be
obtained by mounting "close up," and for this
style rather heavy mouldings are to be preferred.

The way in which pictures are now "fitted up"
by most framers is far from satisfactory, the piece
of brown paper pasted over the back covering a
multitude of sins, while in itself it is frequently
the greatest sinner of all. It is rarely that we
find the glass secured to the rebate of the frame
by means of strips of paper to prevent the access
of dust and fumes, and rarer still to find a prop-
erly jointed back board which can, in like manner,
be pasted in so that the picture is in a practically
air-tight case. In place of this we find a glass
which barely holds in the rebate, and often so
curved that it only touches the latter at a few
points, a few pieces of rough back board, often
running with turpentine, which approximately
cover the back of the mounting, and a sheet of
brown paper which has been glued over them in a
saturated condition, and which starts on its deadly
work of fading the picture, or at least staining
the mount, the moment it is put on, although
it may be months or even years before the
dire effects are fully visible. It is an excellent
plan, whenever possible, to bind the picture and
glass together, in passepartout fashion, using a
sheet of stout manilla paper to cover the entire
back, and just lap over the edges of the glass, to
which it is fastened with a little good glue, or by

222

THE STUDIO

means of strips of gummed paper in the same way
as the binding of a lantern slide is accomplished.
Whenever it is possible an inside slip, which need
not be visible, should be provided to keep the
surface of the print from touching the glass, so
that in case any moisture should condense within
the frame it should run harmlessly down without
staining the picture. This precaution, it is need-
less to say, should always be taken when framing
colored photographs.

Even worse than the maltreatment of their
own work is the careless, we might almost
say dishonest, treatment of originals sent to some
photographers to copy. On many occasions we
have seen old portraits which their producers
have carefully sealed up, stripped of their glasses
for the purpose of making the negative and put
back into their frames or cases with the edges
open, to deteriorate more in a few months than
they have done in many years. With daguerreo-
types the greatest care is necessary, and the same
may be said of unvarnished collodion positives
and ivory miniatures. If gold-beater's skin is not
readily obtainable, although most chemists keep
it, the thin paper sold in rolls for mending books
and music will answer nearly as well for all but
the smallest sizes. Photographers having a good
class clientele might do worse than to advertise in
their price lists that they are prepared not only to
copy miniatures and other old portraits, but to
take the necessary steps for their preservation. —
British Journal of Photography.

The Parting of the Ways

It has been truly said that no man can serve
two masters, and it is as great a truth that a
photographic business cannot be run to issue
two classes of work under the same name with
any chance of ultimate success. It is a lament-
able fact, however, that the first remedy that
suggests itself to a good class photographer who
finds business falling off is either a reduction of
his prices or the introduction of a cheaper class
of work. This may be called the policy of
panic; it is that of a nation which cedes a prov-
ince to the enemy instead of fighting, and is a
frank admission that he who does it has been
outclassed. The man who has enjoyed a repu-
tation for artistic work cannot come down to the
level of the commonplace if respectable sub-
urban photographer, and at the same time hold
together his original clientele at his old prices.
One or other must go, and a reduction in prices
usually means the commencement of a period
of decadence which only terminates in extinc-
tion. Every business man knows that there are
certain fixed charges upon a business, and that
for a high-class concern these are much heavier
than for one of more modest style. Rent, rates
and taxes, renewals of furniture and accessories,
salaries and the like have to be divided among
the orders executed, and it will probably be
found that these alone almost cover the price
obtained for the cheaper work. The running
expenses on an order for "cartes," or even post-
cards, are nearly as heavy as those on one for
cabinets or larger. Plates, paper, and mounts
form but a small proportion of the cost of a
finished photograph, and unless the standard ot

work is lowered there is little to be saved on the
retouching and finishing.

One point cannot be too strongly emphasized.
There is no going back once the decision to
reduce price has been made. Nowadays it is
within the power of only very few to raise that
standard of a photographic business. It must
start with a certain quality of work and appeal
to a certain section of the public, and by this it
must stand or fall. In some commercial circles
there is a limited class of "business doctors,"
little known to the general public, who can be
consulted by the manufacturer or storekeeper
who feels that a "rot" has set in to which he
can assign no definite cause except the general
one of bad trade. These individuals, having no
prejudices of their own, can review the business
in an impartial manner, and are usually able to
point out why the takings have fallen off. It
is a common failing to put all the blame upon
the public and to take none upon oneself, and
this little matter is one which the "business
doctor" has to adjust. After he has had the
run of the place for a week or two we will sup-
pose that he says: "There is a general slack-
ness in every department. Your receptionist is
obliging and courteous, but not keen; your oper-
ator has got into a groove, and your pictures,
although respectable, are lacking in the interest
and 'go' shown in those of your rivals. Your
reception-room and studio are dingy and old-
fashioned, and your specimens are not represen-
tative of the best you can do." These are per-
haps unpleasant things to be told, but one will
not so much mind hearing them from a man
whom one has paid to tell one. It is a false idea
to assume that all is well because there are no
complaints. Customers, as a rule, hate to
grumble; they quietly go elsewhere, and one
never knows why.

Now for the remedy. In the majority of
present-day studios the staff is underpaid and
overworked. How many receptionists are paid
three guineas a week? We know of two or
three. They are in successful establishments,
and the ability to pay this is not only due to the
prosperity of the business, but the prosperity is
due to the efforts of the well-paid saleswoman.
As with the receptionist so with the operator
and printers. There has been a whittling down
of salaries to a point at which it pays much
better to be a tram-driver than an operator.
We must confess to blushing occasionally when
we look down our own situations vacant col-
umn. How can a man be expected to put life
and vim into his work on one hot dinner a week?
In photography more than almost any other
business an alert, active mind is needed by
every worker, and this can only be maintained
by the means to procure the ordinary comforts
of life. Have by all means fine premises, good
apparatus, and use the best materials, but do
not spoil them all with cheap labor, which is
bound to be slow even if conscientious; and,
furthermore, do not try to improve business by
lowering prices. It is idle to talk of bad trade;
never were higher prices paid for photographs,
never did photographers pay more for the acces-
sories and apparatus. — British Journal of Pho-
tography.

Camera for Aerial Use by the Army and Navy

The Eastman Kodak Company has achieved
the invention of a camera for use in aeroplane
operations and is now prepared to furnish it to
the War and Navy Departments. The United
States Government has engaged to take the
complete output of the Kodak Company as fast
as these cameras can be supplied.

The Eastman camera for aeroplanes is said to
be superior to any camera for aerial use now
employed by any of the European armies. It is
adjustable to practically any angle, instead of
being operative only when directly over the
object to be taken, as is the case with the British
and French cameras. It is equipped with vari-
ous safety devices rendering it adjustable to
different conditions of the atmosphere, including
rain and fog.

Several local tests have been made recently
of the camera and all these have proved satis-
factorily. The camera is able to take pictures
at a height of nearly 50C0 feet. Either film or
plates may be used.

Optical Glass Made in America

We learn that the Bausch and Lomb Optical
Company, Rochester, \. Y., are now making
optical glass in their own plant in Rochester and
the glass is said to be equal, if not superior, to
the best glass made in Germanv.

You Can Do It

There is nothing new under the sun. There
is nothing which one man has done that cannot
be done by another and improved upon. It
may take a little longer time for one person
than for another, but perseverance always brings
success. All over the country are photographers
who are making a success of the business. We
do not mean that they are just getting a living,
just paying their bills and have a few dollars
left over for a vacation. They are running a
business which pays a good salary and a profit
on their investment, and what others have done,
you can do, and you can do it right in the town
where you are now located if you will go at it
in the right way.

The first thing which you must have in order
to do what others have done is a credit that is

unquestioned by any one with whom you are
dealing. If you must owe money and owe it
for any length of time (in order to get yourself
rightly located, rightly started, and in a posi-
tion to handle your business so that you do not
have to use one excuse after another to your
customers because their work is not finished),
then borrow the money from your bank. They
will earn.- you for 6 per cent, interest, and you
can cash your bills and still be ahead 18 per
cent, per year, and that 18 per cent, will in most
cases more than pay your rent.

Another man's success can be your success.
A photographer can become just as popular in
your town as in any other. We oftentimes have
some one tell us that this or that city is a good
photographic town. Why? Because it has been
made good by some up-to-date, reliable, enthu-
siastic, pushing photographer, and the reason
it is poor in other towns is because it has never
been rightly advertised or pushed.

Too many stand back with a blank look, not
knowing what to say when they find that some
man has made good simply by plugging all the
time, giving all his attention to the business.
It may require more work for one man than for
another to get the same results, but whenever
you see the success which has been accomplished
by any one in the photographic business, remem-
ber, that what others have done you can do. — Ohio
Photo News.

Dr. Mees on the Theory of Reproduction.

Dr. C. E. Kenneth Mees, of Rochester, gave
a most interesting "talk" to the members of
the American Institute of Graphic Arts, at the
Advertising Club, on Wednesday evening,
March 28, on the "The Theory of Reproduc-
tion," which he regards as the basic principle of
photography.

Dr. Mees, among other things, set forth in a
very clear way the principle of gauging the expo-
sure of plates by means of the brightness of the
image on the focussing screen. The speaker took
occasion to point out the range of light intensities
existing in various subjects which are commonly
photographed. The method of using a light-source
of known power in conjunction with a density-
meter for the determination of correct exposure,
supplemented Dr. Mees's talk by presenting on

(223)

224

NOTES AND NEWS

the screen suitable instruments used at the
Eastman Laboratory in practice of the system.
Dr. Mees also presented briefly the present
status of color-film photography, and from his
remarks the outlook is not very promising as to
scientific results of a satisfactory nature.

Picture Exhibit at the National Convention
in Milwaukee

The picture exhibit at the National Conven-
tion this year is planned to serve two purposes:
First, to furnish those who send pictures to the
exhibit such information and constructive criti-
cism as will enable them to better the general
quality of their work. Second, to show those
who come to the Convention some of the best
work that is made in America today.

The primary consideration, in accomplishing
the first aim, is the selection of judges who will
be able to analyze the pictures that are sub-
mitted and who will be able to put into concise
and positive terms the points that they find in
the pictures. Although the Board is not ready
to announce the names of the judges, the Presi-
dent is in communication with three competent
men who, if they can be secured, will comprise
one of the most competent juries that ever passed
upon the pictures at a National Convention.

The judges above referred to will have charge
of the portrait class. Ratings will be given on
the four following subjects: Composition, tone
values, background treatment, and exhibition
effect. Twenty-five points will be allowed for
each classification.

Two judges will be appointed to pass upon the
pictures in the commercial class. Just as great
care will be used in selecting these judges as
those who will have charge of the portrait class.
They will furnish ratings on the following sub-
jects: Utility, composition, lighting, and technic.
Twenty-five points constitutes perfection in aach
classification.

The judges will divide the pictures in the por-
trait class into three divisions. Those rating
sixty per cent, or more will be placed in Class A,
and from this class, not to exceed twenty pic-
tures, will be selected for the National Salon and
certificates of merit will be awarded to those
whose pictures are selected. Pictures rating
between fifty and sixty will be placed in Class B.
Those rating below fifty will be placed in Class
C. Classes A and B will be catalogued.

This classification is arranged to overcome the
objection made at some of the recent conven-
tions, where all of the pictures have been hung
together so that it was impossible for those who
viewed the exhibit to determine which the judges
considered the better pictures.

At the last convention only three pictures
rated eighty per cent, or better. The highest
rating given was eighty-three. There was a
total of 155 pictures that rated sixty per cent,
or more and salon honors awarded to pictures
rating as low as seventy per cent. Therefore,
one can see that the judges have used a very
close marking and have established a high
standard to be attained only by careful selec-
tion on the part of the exhibiting photographers.

It is suggested that only those pictures which

have been made since the last convention be
entered in the exhibit this year. This sugges-
tion is made because the Board believes that a
ruling of this kind will result in the greatest
good to each exhibitor.

Special distinction will be given the pictures
in Class A. Screens will be constructed so that
the pictures in this class may be shown to the
very best advantage.

Prepare your prints now or at least begin to
prepare them and when you have them ready
send them to the Photographers' Association of
America, care of the Auditorium, Milwaukee,
Wis., transportation charges prepaid. Do not
put this matter off until the last minute and
then send in any old thing you have on hand.
If you send your exhibit in now, it will be well
taken care of until convention time. You may
enter three pictures in the portrait class and
three in the commercial class. There is no
ruling as to size or style and they may be framed
or unframed just as you see fit.

All exhibits must be packed and marked care-
fully. The P. A. of A. will not be responsible
for lost exhibits.

Displaying Flexible Mounts

There is every reason for believing that the
flexible rough paper mounts have "come to
stay," and a fitting method of displaying them
in the show case or window is therefore a desidera-
tum. In the majority of cases the effect of the
display is somewhat spoiled by the buckling of
the mounts, which are very susceptible to atmos-
pheric influences, and various devices have been
tried in order to secure flatness. The use of
drawing pins is only partially successful, as any
reasonable number only serve to reduce the size
of the bulged portions while adding to their
number. Besides, it is not always desirable to
fix the prints to a board or panel, and recourse is
often made to a covering of glass, which, while
helping to keep the mount clean, does little to
flatten it. A plan we have lately seen in use,
and which has much to recommend it, is to bind
the prints between two clear glasses, using the
ordinary lantern binding or, if preferred, the
transparent binding strips used for repairing
music. The glasses must be about an inch larger
either way than the mount, so that the deckle
edge is clearly shown. The backing being clear
does not suggest that the print is framed in any
way. A clip similar to those of the old Mora
frames could easily be adapted to hold the two
glasses without binding, and the changing of
specimens would thereby be facilitated. — British
Journal of Photography.

Mr. Eastman's Career

Mr. George Eastman has always so care-
fully avoided the limelight of modern journalism
that much less is known of his remarkable career
than of that of many other leaders of commerce
of far less ability or success, so that the account
given in Leslie's Weekly comes with a freshness
even to those who have watched the growth of
the Eastman organization from the start. Mr.
Forbes, who writes the article, describes the

NOTES AND NEWS

225

commencement of the Eastman plate factory,
its early difficulties and how they were sur-
mounted, and then the production of the first
kodak. He asked Mr. Eastman what kodak
meant, and was told, " It does not mean anything.
We wanted a good strong word, one that could
not be misspelled or mispronounced, and, most
important of all, one that could be registered as
a trademark that would withstand all attacks."
Some concerns use a fancy word bearing on its
qualities or characteristics, which is always a
most dangerous course, as it often happens when
the mark has been made valuable, it is found
that the word was ineligible and so becomes
public property: while others make up words
which are easily misspelled or mispronounced,
or even words which go outside the resources of
the English alphabet and need accents and pro-
nunciation marks. "Kodak" avoids all the
pitfalls; it is universal, and from a purely manu-
factured word has taken a permanent place in
the language. The whole article is well worth
reading.

Film Book for Photographers

Oftentimes, in the art and pastime of picture-
taking, there are little instances when one would
give a good deal to know when and under what
conditions a certain picture was taken; or, at
other times, he suddenly wants all of the films
which he has exposed of a certain nature, such
as those of indoor pictures, animal life, and so
on. And in many cases it is quite necessary for
the photographer to practise some sort of a
classification.

Assefr,b/e.d' Fih

The accompanying sketch shows the construc-
tion of a very simple and serviceable film-file
which will prove an indispensable addition to
the photographist's equipment. The total
expense for the outlay is but thirty or forty
cents, and the time required to make it will
fall short of a couple of hours.

Supposing that the file is to accommodate
films from a postcard camera, purchase the cover
of a loose-leaf notebook from the bookstore, an
inch or so larger each way than the size of the

films. Then buy, also, a number of manila
envelopes, slightly larger than the films and that
will fit well within the covers of the notebook.

With the holes of one of the covers, if it is not
joined at the back, mark the location of the holes
to be punched, on each one of the envelopes.
Then, referring to Fig. 1, apply short strips of
adhesive tape to the edges of the envelopes, so
that the holes may be punched through the tape
and envelope also. The reason for the tape is
obvious: It strengthens the edges of the holes

*S foowtnci prep o ration of
each eq/e lope^

and prevents them from tearing out. The holes
are punched with any leather or paper punch.
Care must be taken that the location of the holes
is the same on each envelope. They are then
assembled in the book as shown.

Two methods may be adopted for the classifi-
cation: The envelope may either be labeled
with the months of the year, thus making it easy
to ascertain within a month of the date of the
exposure of the film therein, or the labels may
read such as — "Indoor Photographs," "Snap-
shots," "Child Portraits," and so on. Or, if
preferable, they may be labeled to suit the taste
and needs of the owner.

An ordinary cover will hold enough envelopes
to take care of upward of five hundred films
easily, and with the simple classification sug-
gested it will be possible at a moment's notice
to lay hands on almost any picture taken.

Should a larger file be desired it remains but a

226

CORRESPONDENCE

matter of choice, for the bookstores carry a large
assortment of sizes of the loose-leaf covers.

Not only will this little arrangement prove
very helpful to one for indexing and classifying
pictures and films, but it may just as well be used
for a scrap-book for clippings or notes.

Our Cover Picture

The striking and appropriate picture on our
cover this month is by Harry C. Phibbs, of New
York City. This print was exhibited in the
recent Pittsburgh Salon and attracted unusual
attention as a figure study.

Photograms of the Year

The 1916 volume of Photograms, edited by
Mr. F. J. Mortimer, F. R. P. S., establishes
itself as a record once again of the pictorial
photographic work of the year. It contains
reproductions of many of the leading pictures
in the exhibition of the Royal and London Salon,

in addition to a number from colonial and foreign
workers. These are presented by a high form
of printing and do justice to the originals.
There is a review by the editor on "The Year's
Work," and articles on "Essential Aims in
Photographic Art," by Anthony Guest; "The
Future of Pictorial Photography," by Alvin
Langdon Coburn, and "Pictorial Photography
in America," by W. H. Porterfield. While the
pictures do not show any advance over previous
years, the entire book forms an interesting
corollary on the vitality of photography during
the greatest war in history. Messrs. Tennant
and Ward, 103 Park Avenue, New York City,
are the American agents. The price in paper
covers is $1.25, and cloth, $1.75, postpaid.

A Correction

An error, the print appearing on page 158 of
our April issue, was attributed to Jane Reece,
Dayton, Ohio. This picture was made by Nancy
Ford Cones, Loveland, Ohio, who should receive
full credit.

CORRESPONDENCE

Correspondent j should never write on both sides of
the papers No notice is taken of communications unlerr
the names (h addresses of the writers are given *• *■
We do not undertake responsibility forth opinions expressed brow correspondents

WORTH-WHILE LETTERS ON LIVE IDEAS
FROM OUR CONTRIBUTING EDITORS

Suggestion for Vignetter

To the Editor:

Sir: Here is an idea for vignettes. Make
your vignette card as usual, but, instead
of tacking same to printing frame, take four
pieces of thin, flat metal (moulding hooks of the
plain kind will do nicely), bend them to the shape
of square staples, and you have four clips with
which to clip your vignetter to your printing
frame.

A set of these clips have saved me time and
loss of temper many times, being easily adjusted
and always ready; no slipping of card as when
card is tacked on.

M. S. Frensley.

The Question of Costs

To the Editor:

Sir: In reply to your general inquiry for
suggestions, we wish to be placed on record as
desiring to cooperate in every possible way.

The first good idea that comes to my mind is
one which is reiterated in your Journal, viz.,
the question of costs. In every little detail of
production it would be safe to say that the cost
is double that of the prevailing idea. For
instance, until we departmentized the retouch-

ing department, in which we had good, faithful,
energetic, and efficient workmen, we thought
our retouching was costing us in the ordinary
way from ten to twenty-five cents a negative.
We now give that department credit for retouch-
ing at the rates we charge for extra negatives,
viz., half cabinet, 50 cents; cabinet, 75 cents; 5x8,
$1.00; and 8 x 10, $1.50, and charge them all
expenses, including rents, salaries, heat, etc.
The result is only an ordinary gross profit, which
is further cut down by a charge against it of
selling expenses. And so it goes on all along the
line — the printing and the mounting depart-
ments— and it seems that there is no limit to
the size of the administration and selling expense.

Unfortunately for the trade in general, it
costs more to take a poor photograph than a
good one; therefore it is difficult to establish
and maintain a generally profitable schedule of
prices.

It is, of course, unnecessary to legislate for,
or consider the highly artistic photographer, as
he can take care of himself and his name; but
when a man or woman knows the cost, the sell-
ing price will soon adjust itself; human nature
is built that way. Let us have plenty of infor-
mation along that line from anyone who may
have some concrete information on this subject.
General terms are easily expressed but difficult

CORRESPONDENCE

227

to define and apply. We all understand dollars
and cents, so let us get down to figures — in this
way we can be of real help to each other.
Rice Studio Limited,

Charles P. Rice,
March 21, 1917. President.

Electric Printer and Methods

To the Editor:

Sir: The accompanying illustration shows
three views of a printing device which I have
used for some time in the studio work, and
like it very well. I have shown three views —
side, front and top — to illustrate the placing of
lights and switch.

I use a two-way knife-switch to operate the
lights, having the wiring so arranged that when
one light is on the other one will be off, or by

this printer. With this light the average kodak
snapshot negative prints in from one to three
seconds. For professional negatives, portrait,
etc., I usually use a sheet of glass with one thick-
ness of tissue paper pasted on it, between the
negative and the light, to hold back the print-
ing and give greater accuracy. The glass may
be placed beneath the printing frame, and a
ground-glass might be better.

At the top of the box, around the inside, a
small shelving of cleats is nailed to prevent the
printing frame from dropping inside. The
cleats should extend entirely around the inside
to prevent light from shining up past edge of
frame when turned on.

We use an 8 x 10 frame for professional work,
and a 6\ x 8| frame for amateur finishing. A
frame is nailed around the outside of the smaller
printing frame to make it fit the printing box.

I usually remove the spring fastener of the

Hone mot painter

UP TO 8*VlO"

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2 W*y KNIFG SW«TCH
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leaving switch out of both connections both
lights will be off. This saves current somewhat
in a big day's printing, and is a point not to be
lost sight of.

A ten-watt or fifteen-watt light is sufficient
for the colored light, and an ordinary bulb with
an orange-colored sack placed over it is very
good. For the printing light, I find that a light
of from one hundred and fifty to three hundred
watts gives about the best printing strength.
A three-hundred watt nitrogen bulb is used in

longest leaf of the printing frame and screw a
screen-door knob in place of it, and then in
rapid printing hold lid down with weight of
hand rather than by fastening.

In printing from film negatives a good idea is
to have a sheet of heavy-weight mounting paper
on inside of frame, which will be of help in
holding film and paper together until lid is
brought down.

I have found that for marking time an ordi-
nary alarm-clock is better than a timer, because

228

AMONG THE SOCIETIES

the ear is surer than the eye, and as with any
clock one beat always sounds more distinct than
the succeeding one, we count each second beat.
Keeping count in this way does away with the
necessity of looking up from the work at the
timer or straining the eyes in a dim light to see it.

In the construction of the printer, if the dimen-
sions are used as given in sketch it will be found
that the five pieces of lumber required to con-
struct it are all of the same dimensions. When
nailed together the inside of the top becomes
10 x 12 inches, which is about the outside
dimensions of the usual 8 x 10 printing frame.
The depth of the box from bottom of printing
frame is about twelve inches.

It is commonly claimed that the printing
light should be as far from the negative as the
diagonal of the plate. In printing from an
8 x 10 plate on this printer the light is only about
eleven inches from center of plate, but by hav-
ing box lined with white oil-cloth, and by print-
ing through ground-glass or tissue-paper, no
difference can be noted in the printing surface.

In placing the lights, have large lamp as near
as possible to bottom of box without burning
cloth, and have the light filament about the
center of box. The orange light must be placed
so that a line drawn from the light to the back
side of the plate will just miss it, and thus no
shadow of the light will be thrown upon the
back end of a large plate in printing.

It is advisable to attach a couple of pieces of
wood beside the switch so that fingers cannot
touch the metal part in operating, for in work-
ing on a ground floor, in damp weather some

electrical connection is formed with the earth,
and occasionally a slight shock is given the
fingers.

The printer may be kept upon a low stand
or table, but preferably should be nailed to the
wall. By nailing a couple of boards to the back
of printer, so that ends stick above and below,
these ends may be nailed to the wall.

In connection with this printer it is a good
idea to have a rack with pigeon-holes placed on
wall just above printer for holding negatives,
paper, etc.

The principal argument for this printer is the
speed with which work may be turned out. As
to economy: Counting five seconds as being the
average printing time, about eight minutes'
burning of the strong light is sufficient to print
one hundred prints, and as a three-hundred-
watt light costs about three cents per hour to
burn, it will thus cost much less than one cent
to do a day's printing in the small studio.

Roy F. Nixon.

Hypo for Fixing Prints
To the Editor:

Sir: In reply to your letter of recent date,
a practical note for the "Workshop," will say
that I have found in making sepias that the
addition of spent acid hypo used for fixing prints,
added to the usual hypo-alum bath, will quicken
and rejuvenate the hypo- alum bath, making
sepias of equal tone, putting to use a waste
product. Have only used it on Ago.

A. B. Stebihns.

March 23, 1917.

Mm AMONG THE

Resolutions by the Federal Photographic
Society

Whereas, Thomas William Smillie, photog-
rapher for the United States National Museum,
and custodian of its section of Photography,
passed away after a short illness in Washington,
D. C, Wednesday, March 7, 1917; and '

Whereas, Dr. Smillie headed the photographic
laboratory of the National Museum from 1871
to the date of his death, during which period
he rendered such services to the art he loved as
will cause his name to be forever revered by all
who have so materially benefited by his labors;
and

Whereas, The National Government profited
by his skill and knowledge not only because of
his official position but by reason of his researches
for the post-office, his unselfish devotion to, and
aid in, the labors of the Fish Commission, his
assistance to the late Professor Samuel Pierpont
Langley in his experiments with the bolometer,
and his highly successful organization of the

photographic work of the Smithsonian Expedi-
tion to Wadsboro, North Carolina, to observe
the total solar sclipse of 1900; and

Whereas, His ability as an organizer, his
facility of invention, his assistance to Mr.
George Eastman when that pioneer was first
revolutionizing the science of photography by
the introduction of hand-cameras and roll-films,
brought him the affection, admiration, and
esteem of all who labor for the perfection of
photographic processes; and

Whereas, His death is a loss to the Paris
Academy of Inventions, of which he was an
honorary member, the Royal Photographic So-
ciety of England, of which he was a Fellow, the
American Association for the Advancement of
Science, the Philosophical Society of Washing-
ton and American Academy of Political and
Social Science, of which organizations he was a
member; now therefore be it

Resolved, That the Federal Photographic
Society of America, of which Dr. Smillie was
first and only Honorary President, does here

AMONG THE SOCIETIES

229

record its deep grief at the death of one who
honored the profession he so well adorned and
its sympathy with his surviving relative, and
many friends in the bereavement they have
sustained ; and be it further

Resolved, That a copy of this resolution be
spread upon the minutes of the Federal Photo-
graphic Society, that a copy be sent to his sis-
ter, Miss Lydia Smillie, and to the Smithsonian
Institution, and that copies be furnished the
photographic press and the daily press of
Washington; and be it finally

Resolved, That we, the Federal Photographic
Society of America, sincerely believe the place
Dr. Smillie leaves vacant can never adequately
be filled, and that because of the gentle character,
sterling integrity, eager spirit of helpfulness,
deep erudition and kindly courtesy of a man
beloved by all who knew him, the world at
large, as well as that of photography and of
science, is the poorer for his passing.

(Signed) Anthony Ludwig,
L. W. Beeson,

March 16, 1917. E. L= Crandall.

The Pictorial Photographers of America

At the present time, public interest in good
photography has assumed proportions which
impel an organized effort for continuance in its
development. The Pictorial Photographers of
America is an organization of well-known men
and women who have pledged themselves to
engage in a campaign which will help place
photography on a higher plane. Following are
the plans of' the P. P. A. :

The Pictorial Photographers of America will
endeavor to carry the message of good photog-
raphy to a public anxious to see what photog-
raphers are doing. They will encourage good
work, and if a city needs an exhibition, this
organization will plan to send the yearly collec-
tion of the work of advanced photographers and
see that the exhibition is properly housed and
exhibited. If a member is at a distance from
New York, in some town which may be far from
photographic incentive, the organization will
help form a center in that town, from which one
will get inspiration and study through the parent
body. There are to be monthly meetings at the
National Arts Club, when interesting and
instructive papers will be read, copies of which
will be published and forwarded to every mem-
ber. It is hoped to establish headquarters, and
then, if a member is a visitor to New York, he
will be privileged to visit these headquarters,
see the latest products of the various workers,
and meet those who are engaged in the very
work you are doing; for it is only through the
establishment of such an association, it is
believed, that pictorial photography can win
the appreciation and standing it deserves.

The Aims Are

To stimulate and encourage those engaged
and interested in the art of photography.

To honor those who have given valued ser-
vice to the advancement of photography.

To form centers for intercourse and for
exchange of views.

To facilitate the formation of centers where

photographs may be always seen and purchased
by the public.

To enlist the aid of museums and public
libraries in adding photographic prints to their
departments.

To stimulate public taste through exhibitions,
lectures and publications.

To invite exhibits of foreign work and encour-
age participation in exhibitions held in foreign
countries.

To promote education in this art, so as to
raise the standards of photography in the United
States of America.

The annual fee is S5.00, and the Treasurer,
Dr. Charles H. Jaeger, National Arts Club, 119
East 19th Street, New York.

Report of the Second Convention of the Middle

Atlantic States, Philadelphia,

March 27, 28, and 29

With a total attendance of 427, consisting of
267 members, 85 ladies, and 75 manufacturers
and dealers, the Second Convention of the Pho-
tographers' Association of the Middle Atlantic
States finished a most successful three days'
session in Philadelphia, March 27, 28 and 29.

Tuesday, March 21

Address of Welcome, E. J. Cattell, Philadel-
phia City Statistician.

Response, William H. Rau.

J. A. Dawes, en interesting talk on studio
work.

W. B. Poynter, demonstration of child-
portraiture.

E. Meyer Silverberg, illustrated talk.

Henrietta Hudson, illustrated lecture on the
"Commercial Uses of Direct Color Photog-
raphy."

Wednesday, March 28

Henry A. Strohmeyer, "The Photographer in
His Business in His Community."

Katherine Jamieson on "The Women's Feder-
ation,"

Pirie MacDonald gave his famous talk on
"System."

Mrs. Frances Geissler, demonstration of home
portraiture.

I. Buxbaum, a practical demonstration in
modern lightings, enlarging and its possibilities.

Thursday, March 29

Business meeting: Reports of committees,
election, selection of place of next meeting, etc.

Ryland W. Phillips, President Photographers'
Association of America, "Stop and Watch Your-
self Go By."

Jno. I. Hoffman, Secretary Photographers'
Association of America.

Reception for ladies at Mary Carnell's studio.

Clarence H. White in an open talk and dis-
cussion on pictures he submitted.

Professor Francis Harvey Green, business talk
full of interest.

The various State vice-presidents were each
given thirty minutes on the program and many
interesting talks were given.

Next place of meeting to be decided by Board.

230

AMONG THE SOCIETIES

The officers elected: A. H. Diehl, Sewickley,
Pa., president; Wm. C. Parker, Morristown,
N. J., vice-president; Wm. Kingling, Baltimore,
Md., secretary; W. I. Goldman, Reading, Pa.,
treasurer.

State Vice-Presidents: Samuel R. Gray, Phil-
adelphia, Pa.; Henry A. Strohmeyer, Newark,
N. J.; E. F. Tevis, Wilmington, Del.; J. C.
Christoff, Baltimore, Md.; I. C. Boyce, Wash-
ington, D. C.; W. A. Amon, Clarkesburg, W.
Va.

The ten pictures selected for the National
salon and certificates of merit awarded were
from: Bachrach Studio, Baltimore, Md.; W. L.
Deal, Philadelphia; R. T. Dooner, Philadelphia;
J. Mitchell Elliott, Philadelphia; Freeman
Studio, West Chester, Pa.; Katherine Jamieson,
Pittsburgh, Pa.; Miller Studio, East Orange,
N. J.; Harry Schaeffer, Altoona, Pa.; Joseph
Strickler, Pittsburgh, Pa.; George A. Wonfor,
Camden, N. J.

The Eleventh Annual Exhibition, M. A. A. A.
Camera Club

The M. A. A. A. Camera Club, of Montreal,
held its Eleventh Annual Exhibition from
March 26 to 31, inclusive, in the Club Rooms,
250 Peel Street. Exhibits were received from
many parts of Canada and the United States.
Notwithstanding the unsettled conditions inci-
dent to the war, the artistic quality of the work
submitted has been very gratifying, and made
possible a very presentable exhibition of amateur
photography. Mr. William Brymner (president
of the Royal Canadian Academy), Mr. Sydney
Carter, and Mr. T. H. Dupras acted as judges.

The prizes were divided into five classes:
Portraiture, Landscape, Waterscape, Architec-
ture, and Genre, a silver and bronze medal being
awarded in each class. The prize and honorable
mention list was as follows :

Class A, Portraiture. 1st prize, W. G. Fitz,
"An Impression." 2d prize, T. W. Kilmer,
"Three Score and Ten." Honorable mention,
B. B. Pinkerton, "The Fortune Teller."

Class B, Landscape. 1st prize, W. H. Rabe,
"Sunlit Woods." 2d prize, C. W. Christiansen,
"Morning Shadows." Honorable mention, Wm.
A. Guyton, Jr., "Caprice."

Class C, Waterscape. 1st prize, Albert Kelly,
"Quebec Harbour." 2d prize, W. G. Fitz,
"Study." Honorable mention, Dr. D. J.
Ruzicka, "The Park Bridge." Honorable men-
tion, Paul Wierum, "On the Mississippi."

Class D, Architecture. 1st prize, O. L.
Griffith, "Night Rain." 2d prize, W. H. Rabe,
"The Crescent."

Class E, Figure Studies, or Genre. 1st prize,
W. G. Fitz, " Danse Javanesque." 2d prize,
O. L. Griffith, "Fantasie."

From Good to Better

There is no such thing in any art or science
as the attainment of a certain level of profi-
ciency at which one may remain stationary. We
must move, no matter how slowly, backward or
forward. We must either improve or deteri-
orate: as soon as we think that we have attained

perfection the process of decay has commenced.
The artist who is satisfied with his work, who
does not feel that his magnum opis is still in the
future is to be pitied, for without the hope of
better things he is prone to relax his efforts, and
from excellence lapse into mediocrity. There
have been few artists whose work could compare
with that of Leonardo da Vinci, yet in his old
age this great master drew the picture of a
child in a go-cart, learning to walk, and beneath
it inscribed the legend, "Still I learn."

This lesson may well be taken to heart by the
photographic assistant, be he operator, printer,
or retoucher. He should always bear in mind
the old North-country dictum, " 'That'll do'
will never do." Day by day, not only for mate-
rial profit, but for his own comfort and satis-
faction, he should strive to improve his work,
and the better he can do the better he will wish
to do. It is only the duffer who is content just
to scrape through.

The application of this principle to our daily
work is a simple one. Let us take the case of a
studio operator entering a new situation, and
finding that he is expected to work with plates
to which he has not been accusomed. His first
negatives are not up to standard, and he forth-
with condemns this make of plate and, if his
employer be easy-going or ignorant, gets permis-
sion to revert to the one and only brand which
he knows how to work. This is in itself a con-
fession of incapacity, and such an operator's
reputation is not likely to be enhanced by it.
How much better he would appear if he had not
been content with getting a good negative on
one brand, but had studied the handling of
many until he was sure that a plate which he
could not manage was really a bad one.

The same thing is experienced in connection
with lighting, especially with electric light. An
operator gets a fixed idea in his head perhaps
that no artificial light can be as good as day-
light, and takes a melancholy satisfaction in
proving his theory. All goes well until the
employer meets a man who, with exactly the
same system of lighting, is turning out fine
work. Then he realizes that a change may be
beneficial to his business, and there is trouble for
the operator, which might have been averted if
he had tried not to discredit the light, but to
make the best use of it.

Printing affords many instances of the same
sort of thing. The carbon worker tolerates
"tint" and other defects because he has not
the industry and intelligence to find out the
cause. The bromide printer complains that the
last batch of paper gives hard prints, because
he will not modify his methods of working, and
the retoucher does not put his very best into a
bad negative because he fears that it will encour-
age the operator to give him a few more like it.
We believe that there is no limit to the possi-
bilities for improvement; when a high level U
reached progress must become slower and slower,
but there is always room on the top, and is
should not be forgotten that a horse that can
get his nose opposite the judge's box a fraction
of a second before his nearest rival wins the
race, and so it is in our daily work. — British
Journal of Photography.

THE WORKROOM

By We JiedtT Operator

Washing

Photographing Polished Surfaces

Lettering Negatives

Making a Ground-glass Screen

Storage of Plates and Paper

The Mercury-ferrous Oxalate Method of

Intensification
Making Solutions
Varnish

Weights and Measures for Reference
Handling Ultra-rapid Plates
Items of Interest
Carbon Transparencies
Action of Potassium Bromide Used in Developers

for Increasing Contrast in the Developed

Image

Washing

The simple operation of washing, which so
many workers are so apt to treat in a careless,
haphazard way, as if it were a mere matter of
form, is really of the greatest importance, and
any neglect in this direction brings speedy retri-
bution. The majority of photographic flaws
and defects, of the spot and stain family, are,
in fact, due to nothing else than inadequate
washing at one stage or other. Even when the
print or negative comes safely through without
apparent blemish, it is not at all unlikely that
rapid fading or deterioration has been rendered
certain by a hurried and imperfect wash at the
finish.

Washing in " Running Water"

A common method of washing is to place the
negative or prints under the tap, in a dish,
allowing the water to run or drip steadily on
them. Unfortunately, the water is not changed
so quickly as might be thought; that coming
from the tap, for the greater part, merely runs
over the surface of that in the dish, and it is
only by gradual diffusion that any change occurs
at all. This, therefore, is a very unsatisfactory
method of hypo elimination, and does not
really deserve to be called washing in running
water.

It has, indeed, been shown that plates may
be washed film upward in this way for as long
as twelve hours, and yet give decided indications
of hypo when tested. If the negatives can be
placed film downward, supporting them at the
edges in some way, the washing is very much
quicker, for the hypo falls downward out of the
film. But washing plates in horizontal dishes is
not a good plan unless two dishes can be used,
the water being changed occasionally and the
negatives transferred from one dish to the
other, cleaning out the first dish before refilling
it, to remove any hypo that has settled at the
bottom.

Necessity for Pure Chemicals in Photography

Preventing Stained Gaslight Prints

A Dark-room Stock Record

A Note on Spotting Negatives

Cleaning Negatives

Changing the Color of Lantern Slides by

Redevelopment
Some Causes for Worry: How to Remove Them
Matt and Glazed Prints by the Carbon Process
Weak Points in the Beginner's Operating
Life-size Portraits
Recovering Silver
Creases in Backgrounds
For Retouchers

Detecting Pinholes in Camera Bellows
Magnifiers

The same remarks apply to films as to glass
negatives, with the addition that gentler hand-
ling is necessary. Care should be taken that
films are kept moving, and not suffered to lie
or stick together in a pile; but, in moving or
shifting them, see that the sharp edges and
corners of the celluloid do not cause scratches.

Washing Negatives in Tanks

Tanks in which negatives can be washed in
an upright position are much better than dishes,
since the hypo falls to the bottom; but they
should be provided with a syphon for continu-
ally emptying the water, or there is no great
advantage. The syphon automatically dis-
charges the water at the same rate as it enters
the tank from the tap, the latter being turned
on just sufficiently to provide for this. In conse-
quence, we have what is, in actual fact, washing
in running water.

As, however, there is till a chance of hypo
settling at the bottom of the tank, or in corners,
there should be a wire rack provided for the
negatives, with a handle for lifting; so that, at
least three or four times during the washing,
the negatives may be lifted out and the tank
emptied and rinsed. With this precaution, one
hour's washing should be quite sufficient. Tanks
are greatly to be preferred to dishes for prints
as well as negatives, on account of the greater
volume of water contained. Syphon washers
of various kinds have long been obtainable for
this purpose. Paper obviously retains hypo
more than glass, so that prints require to be
moved about more and to receive a greater
number of changes than will suffice for negatives.

Washing with Limited Water Supply

When the worker has not got a constant sup-
ply of water available, the best thing for washing
negatives is to get a couple of fairly large pails
and a small brass tap to screw on. Bore or

(231)

232

THE WORKROOM

punch a hole in the side of the pail close to the
bottom large enough to screw the tap into, tak-
ing care not to make it too large. Screw the
tap in, and, if it leaks at all, stop round with
putty. Fix two shelves at such a height that
the syphon washing tank may stand on one of
them, discharging into one pail placed on the
floor, while the pail with the tap is stood on the
shelf above.

The top pail is filled with fresh water as
required, the tap being shut off while carrying
it, the lower one being emptied at the same
time, first plugging the syphon of the tank with
a cork. If both pails are of identical size, over-
flow is impossible. Such an arrangement is also
well adapted for washing prints, substituting a
tilted dish for a print washer for the negative
tank. A number of soakings and frequent
changes are more effective from a hypo-elimi-
nating point of view than prolonged washing in
running water.

This is a fact that may be made the most of
by those whose water supply is really limited
in quantity. Two dishes or tanks (without
syphons) may be used, the prints or negatives
being given a five minutes' soaking in one, and
then transferred to fresh water in the other,
while the first is rinsed and refilled. Prints
should be placed in a pile and squeezed gently
between the hands at each change, allowing
most of the water to drip off them before placing
in the newly filled dish.

Under such conditions as those described
eight changes will be sufficient for negatives
and twelve for prints. This method sounds
tedious, but it must be remembered that if
comparatively little water is used, as will be
the case, we must be prepared to make up by
greater attention, and we shall have the satis-
faction of knowing that our labor has been well
expended, and our prints or plates are well
washed.

Photographing Polished Surfaces

Reflections are sometimes a trouble to a
photographer. One of the simplest ways of
overcoming the reflections is to sprinkle the floor
of the studio or room in which the objects are to
be photographed sufficiently to render the air
slightly moist. Then, when all is ready, drop a
lump of ice into the vase or jug. This will chill
it and immediately the moist air of the room
will condense on it and dull the whole surface.
The camera should be ready for the exposure
(see that the lens is not clouded), for as the con-
densation continues it will begin to drip down
the sides of the vessel. If more than one nega-
tive is required, remove the ice from the vessel
till ready for the second exposure.

Another way for dealing with polished metal
is to take a piece of putty — not too soft — and
dab it evenly all over the bright surfaces. This
will render them non-reflective and so remove
the difficulty. The putty can be cleaned off
and the gloss restored by means of a plate brush
and whiting with a little benzole. Neither the
dabbing with putty nor the using of ice can
injure either glass or metal. Don't make the
mistake of underexposure. Go for the shadows,

and not simply for the high-lights. These will
be overexposed, and tentative development
should bring out the shadow detail before full
density is obtained.

One of the easiest objects to copy, so far as
reflection is concerned, is a daguerreotype. The
surface is so bright and so even that it reflects
like a mirror — that is, it will reflect the light at
the same angle that the light strikes it, and so,
if only a sidelight is used to illuminate it, there
will be no direct reflection into the lens of the
camera.

Sometimes machinery has to be photographed.
In the case of new machinery it may be painted
or varnished, according to the whim or custom
of the maker. There is a period in the finishing
of a machine when the parts to be painted receive
a priming coat. If the photographer can take
the negative at this stage, his work is rendered
easier. The great trouble with machinery is
often its position. A machine is a solid object
and stands where it is built — that is, a photog-
rapher cannot move it at will. If the machine
has to be dulled to kill reflections, paint it over
with flatting color. This can be cleaned off
with a handful of cotton waste dipped in turpen-
tine or benzoline.

In photographing silver plate we may find an
inscription. Take the plate to a copperplate
printer and ask him to ink the inscription. The
letters, being now in black ink, will photograph
much clearer, and a little turpentine on a rag
will clean the ink out.

The photographing of gold letters cut into
mottled and highly polished marble— on memo-
rials— is often difficult; in fact, if the letters are
small, it is often almost impossible to read them
on the stone itself, especially if the gold has
partly flaked off. The best way out of the
difficulty is to mix some whiting to a stiff paste
with a little water and fill in the letters with it
until they are flush with the face of the stone.
The white matt letters will now be distinguish-
able in the photograph. The filling can easily
be removed from the letters by either washing
or brushing it out.

Lettering Negatives

It is at times necessary to write or print
some title on a negative. The most common way
to obtain black lettering is to scratch the film
away with a darning needle or sharp penknife
and leave the letters clear glass. If it is wished
to have black letters on a small strip of white,
paint a narrow strip of Indian ink or other
opaque substance on the face of the negative,
and when it is dry scratch out the letters care-
fully. This will give black letters on a white
ground. Another way is to bleach out the
letters.

The white letters are somewhat simpler than
black ones. Write on the negative with a pen
filled with Indian ink, and the opaque ink will
protect the paper and leave white letters. Or
use ordinary ink with a very little mucilage
mixed with it, and before it is quite dry care-
fully dust a good deposit of lampblack over it.
If the reversed writing bothers, write the title
in copying, mixed with a little yellow or ver-

THE WORKROOM

233

milion, to make it non-actinic, or with ordi-
nary ink to which a little glycerin has been
added, on a slip of paper. Then dampen the
negative where the title is wanted and lay the
inked side of the paper on the spot and leave it
under pressure for a few minutes. Then peel
the paper off, and a reversed copy of writing
will be left on the film.

Or take a small piece of thin talc and write
the title on it; then cement the talc with a trans-
parent varnish to the film, with the writing in
contact with the film. It will then be reversed.
If white letters are required on a patch of black
ground, cut away a small strip of the film, leav-
ing clear glass only. Then write the title back-
ward, in Indian ink, on the clear space. This
is simpler to do than describe.

Another method giving white letters on silver
prints is to write the title on the paper (before
printing), using gamboge and a fine steel pen.
Then print in the usual way, and the paint will
wash off in the water, leaving white letters.
The other plan is to write with a chemical ink
(after toning and fixing) on the dry print. Such
an ink is made thus: Potassium iodide, 40 grains;
water, 2 drams; iodine, 4 grains; gum acacia, 4
grains. Write on a dark part of the print, and
as soon as the letters turn yellow, immerse the
print in a fixing bath for a minute or two, and
wash thoroughly.

Making a Ground-glass Screen

A piece of finely ground glass is not difficult to
make. Two pieces of ordinary glass, such as two
spoiled negatives with the whole of the coating
cleaned off, and a little fine knife powder form
the materials required. One of the pieces of glass
should be fastened by means of five or six brads
or tacks to the surface of a bench or board,
taking care that the heads of the tacks are below
the top surface of the glass. A little knife pow-
der is then dusted over the glass, and it is
sprinkled with water, and then the other piece
of glass being placed upon the top of it, the two
surfaces are ground together with a constantly
varying motion. By pressing on the top glass
with outspread fingers it is possible to equalize
the pressure over the whole surface. From
time to time the two glasses are washed and
wiped dry to see how the surface is progressing.
If any spots remain bright, they may have espe-
cial attention by putting a little powder on
them and by pressing on the top glass just over
them while continuing the grinding. As both
the surfaces in contact are ground in the pro-
cess, it is as well to finish all the clear spots on
both in this way, so that the result of the work
is two focussing screens, both ready for use. A
couple of half-plates should be ground in this
way in less than a quarter of an hour, and if
the powder used is fine the grain of the glass
will be fine also.

long enough for any serious damage to be caused,
but even if only a month's supply be kept in
hand, there is every necessity for providing a
suitable storage place. The enemies most to
be feared are damp and sulphurous vapors, and
these are often present in conjunction in the
dark-room. Sulphide toning has added greatly
to the risk of the latter, and care should be
taken that the sulphide of soda, or whatever
evil-smelling substitute is employed, should
never be used near the plate store. Gas stoves
and coke fires were bad enough, but sulphide
fumes are quicker and more thorough in action.
Damp is a more insidious foe, for its results are
not so apparent. Spots are seen in the film,
but the platemaker is blamed and the real cause
passed over. There is also a considerable loss
of sensitiveness as well as of quality. It fre-
quently happens that when large sizes, say
18 x 16 down to 12 x 10, are only occasionally
used, the opened boxes are left in the dark-room,
and when required for use are found to be hardly
fit for exposure. This could be avoided by
providing an airtight box fitted with a suitable
holder for a pound or so of chloride of calcium.
An ordinary uniform case will do, one of Silver's
trunks is even better, and these may be made of
any size. Money will be saved and quality of
negatives improved by taking this simple pre-
caution. We have alluded to the matter on
many previous occasions, but even now it does
not seem to be generally recognized that gela-
tin plates and papers are materials which read-
ily absorb moisture and that the condition of
dampness into which they can come under many
ordinary conditions of storage are sufficient to
make a marked difference in the results obtained
with them. — British Journal of Photography.

The Storage of Plates and Paper

With the price of photographic materials at
its latest level, it is necessary to avoid waste
and deterioration, especially as regards plates
and papers. The smaller sizes which are in
everyday demand are usually not kept in stock

The Mercury-Ferrous Oxalate Method of
Intensification

Anyone who has intensified a negative with
mercury and ammonia, and then tried to repeat
the operation knows that it is not practical.
Not only does the negative gain nothing in
density, but it suffers from stains or patchiness.
There is one modification of mercury intensifier
which is not open to this objection, but can be
applied over and over again if need be, each
application increasing the contrast to a definite
degree. This particular process is that in which
the bleached image is darkened by means of
ferrous oxalate.

The intensification is best carried out by day-
light throughout, and should not be put in
hand until there is no doubt that the hypo has
been completely eliminated. It is a good plan
to make sure of this by well washing with water,
in the usual way, and then leaving the negative
for half an hour in a solution of alum. A con-
venient strength is one ounce of ordinary or
potash alum to a pint of water. Hot water
should be used to dissolve the alum, and the
solution is ready for use as soon as it is cold,
and can be poured back and used over and over
again, provided it keeps clear. This will not
only decompose the last traces of hypo (which
should not be present), but will also harden the
gelatin, which is desirable.

After the alum the negative may be washed

234

THE WORKROOM

in three or four changes of water, ard is then in
the best condition for bleaching. It is bleached
in a mixture of equal parts of a saturated solu-
tion of mercuric chloride and water, three drops
of hydrochloric acid being added to each ounce
of the mixture. When it is thoroughly whitened
right through it may be taken out and washed.

The intermediate washing should be done
with very dilute hydrochloric acid in place of
water, say, one ounce of acid to eight or ten
pints of water, and after half a dozen changes in
this the negative should be left in distilled water
for five minutes, well drained, and put into a
fresh bath of distilled water for the same time.
This is important, as, without it, the oxalate
solution will react with the salts of lime always
present, more or less, in ordinary water, and
will form calcium oxalate, which is insoluble,
and will leave stains in the film.

After washing the negative is put into fer-
rous oxalate solution to darken. This is made
by mixing a saturated solution of iron sulphate
with a saturated solution of potassium oxalate.
The iron must be added to the oxalate, and not
vice versa, or a clear liquid will not be obtained.
Two drams of the iron solution, not more,
should be taken to each ounce of the oxalate.
In this the image gradually darkens, and the
negative should be lelt until there is no doubt
that the darkening action has gone right through.
No harm will result ii it is left in longer than is
absolutely necessary.

Washing completes the process. For the
reason already named the negative should be
washed in three changes of distilled water, five
minutes in each, after which it may be given a
rinse in plain water, and set up to drain and dry.
— Photography.

Making Solutions

In many studios there is a great want of
uniformity in the quality of the negatives which
are to all appearances produced under exactly
the same circumstances. There are times when
they seem to run thin, then very likely there is
a period of undue density, and after what may
be termed a normal spell, for a few days, the
negatives will show a distinct yellowness. It is
quite usual to blame the platemaker, and in
some cases a good brand of plate has been given
up only to find a recurrence of the trouble with
another variety. More frequently than not the
cause of all this worry is a haphazard method
of making the developer. This work is usually
left to an assistant, even by operators who
would not dream of allowing anyone else to
develop thefr negatives, and, unfortunately,
many assistants t'ake the easiest way of doing
things and are, moreover, not good at guessing
at quantities of chemicals.

This was forcibly borne in upon us some time
since when watching the compounding of the
developer in the dark-room of a large studio.
Sulphite, carbonate of soda, and hypo were all
kept in well-made bins, and in each bin there
was a plate box, which was used to dip out what
was supposed to be the correct quantity of each
for a Winchester of solution. Scales and weights
stood handy for use but were disregarded.
Having our doubts as to the accuracy of the

quantities being used we persuaded the oper-
ator to weigh them, with the result that errors
varying from twenty-five to thirty-three and a
third per cent, were discovered. If the amoun:
of error had been constant it would not have
mattered so much, but in this particular case
three people were in the habit of making up
developer, and each had his own ideas on the
subject, a state of things which would account
for the unequal results to which we have already
alluded. A partial remedy would be the use
of wooden measures, such as are used by corn-
chandlers, which could be cut down so as to
hold as nearly as possible the correct number of
ounces of sulphite carbonate or whatever may
be desired, each measure being kept for its
proper chemical.

Another cause of uneven quality is the use of
freshly mixed solutions at too high a tempera-
ture. Hot water is frequently used to dissolve
sulphite and carbonate, and the solutions used
before they have had time to cool down. This
often results in the spoiling of the first one or
two dishfuls of plates, which take on an undue
density which no after-treatment can make
normal.

We have mainly had the pyro-soda developer
in mind, as it is the most generally used, but
other solutions, notably that of amidol as used
for bromide work, require the same care in
preparation. The proportion of sulphite in this
has a great influence on the quality of the prints,
yet we have seen sulphite mixed for this pur-
pose by the handful, the exposure being modified
to suit the developer.

Toning and fixing baths made in the slipshod
way cannot get even results. Some prints
reduce unduly in fixing and others do not, all
this meaning waste. In these hard times the
photographer is very keen on getting an extra
two and a-half or five per cent, discount from
his dealer, but it is often a case of "pouring in
at the spigot and running out at the bunghole,"
for it is seldom that too little is used, and it is
not only the waste of chemicals, but plates and
paper, especially the latter, which has to be
considered, besides the loss of reputation caused
by the occasional issue of inferior work. It pays
to do everything well in photography, and the
making of solutions is not one of the least impor-
tant operations. — British Journal of Photography.

Varnish
To render negatives and positives on glass,
paper, or other supports impervious to the action
of the air, damp, or changes of temperature, it
is advisable to coat them with a varnish composed
generally of a resinous substance dissolved in a
volatile liquid, or collodion, or Indian-rubber
in solution. The subjoined formulary includes
sufficient for almost all photographic purposes:

Varnishes to be Applied to Heated Negatives
Orange shellac .... 2 oz.

Sandarac 2 oz.

Canada balsam .... 60 gr.
Oil of lavender .... 1 oz.

Methylated alcohol ... 16 oz.

Bleached lac 4 oz.

Alcohol 20 oz .

Camphor ^ oz.

THE WORKROOM

235

Varnishes which are Applied to Cold Negatives

Amber 1 oz.

Chloroform or benzole . . 16 oz.

Amyl acetate . . . . 10 oz.

Pyroxylin 144 gr.

Sandarac 40 oz.

Dammar 40 oz.

Benzole 1 oz.

Matt Varnishes for Positives on Glass

Make a solution of white wax in ether and
apply to the positive.

Sandarac 1 oz.

Alcohol 6 oz.

Dissolve and add If drams of castor oil.

Benzole 90 parts

Alcohol 10 parts

Gum dammar .... 8 parts

First dissolve the gum dammar in alcohol
and then add the benzole. This varnish is of
course inflammable.

Varnishes for Ambrotypes or Backing Positives

Asphaltum § oz.

Canada balsam .... 1 oz.

Turpentine 1 oz.

Asphaltum \ oz.

Masticated rubber ... 15 gr.

Benzole 1 oz.

Retouching Varnishes

Dissolve gum dammar in turpentine until
a consistence of thin cream is secured. To
thin this solution, add turpentine; to thicken,
leave the bottle uncorked for a day or two.

Sandarac 1 oz.

Castor oil 80 gr.

Alcohol 6 oz.

First dissolve the sandarac in the alcohol,
and then add the oil.

Varnish to Render Films Transparent

White paraffin wax ... 6 oz.

Petroleum spirit ... 2 oz.

A nti-halation Varnishes

Aurine 2 gr.

Plain collodion .... 1 oz.

Powdered burnt sienna . 1 oz.

Gum arabic ..... 1 oz.

Glycerin 2 drams

Water 10 oz.

Shake well before using.

Colorless and Transparent Varnish

Copal (soft) 1 part

Benzine 10 parts

Weights and Measures for Reference

The tables below represent the values and
relative proportions of the principal weights
employed in commerce and the arts. The

formulae given in photographic literature are
expressed in French (metric), English or Ameri-
can terms of weight and measure, or more
simply in parts and volumes. The complica-
tions arising from the use of so many different
systems are often the source of many difficulties
in photographic practice, which, however, can
be easily overcome by the adoption of one system
— preferably the metric system, as the one most
widely used by scientific workers — and the
conversion of formulae differently expressed
into the terms of that system. To adopt this
system the photographer needs only gram
weights and cubic centimeter graduates for
formulae written in metrical form, and conver-
sion tables for English weights, as given below.

U. S. Weights and Measures

Volume — Liquid

4 gills 1 pint

2 pints 1 quart

4 quarts 1 gallon

Fluid

Gallon. Pints. Ounces Drams. Minims.

1 = 8 =. 128 "= 1024 = 61,440

1 = 16 = 128 = 7,680

1 = 8 = 480

1 = 60

A fluidpint is sometimes called a fluidpound.

Troy Weight
Pound. Ounces. Pennyweights. Grains.

1 = 12 = 240 5760

1 = 20 480

1 = 24

Apothecaries' Weight

ft> o 5 3 gr.

Pound. Ounces. Drams. Scruples. Grains.

1 = 12 = 96 = 288 = 5760

1=8- 24 = 480

1 3 = 60

1 = 20

Avoirdupois Weight
Pound. Ounces. Drams. Grains. (Troy).

1 = 16 = 256 = 7000

1 = 16 = 437.5
1 = 27.34

English Weights and Measures

Apothecaries' Weight

20 grains = 1 scruple

3 scruples = 1 dram

8 drams = 1 ounce

12 ounces = 1 pound

Fluid Measure

60 minims = 1 fluiddram

8 drams = 1 rluidounce

20 ounces = 1 pint

8 pints = 1 gallon

The above weights are generally used in
formulae. Chemicals are usually sold by

Avoirdupois Weight

27.34 grains = 1 dram

16 drams = 1 ounce

16 ounces = 1 pound

236

THE WORKROOM

Tables for the Conversion of "English" Measures
and Weights into "Metric" and Contrariwise #

Conversion of Grains and Ounces into Grams

Grains to the

Grains to Ounces to ounce —

grams. grams. grams to

100 c.c.

0.06479 28.3495 0.22817

0.12958 66.9660 0.45635

0.19437 85.0485 0.68452

0.25916 113.3980 0.91269

0.32395 141.7475 1.14086

0.38874 170.0970 1.36904

0.45353 198.4465 1.59721

0.51832 226.7960 1.82538

■0.58311 255.1455 2.05356

Conversion of Minims, Draws, Ounces, and Pints to Cubic
Centimeters and Liters

Minims to
c.c.

0.05916

0.11832
0.17748
0.23664
0.29580
0.35496
0.41412
0.47328
0.53244

Drams to
c.c.

3.5495
7.9990
10.6485
14.1980
17.7475
21.2970
24.8465
28.3960
31.9455

Ounces to
c.c.

28.396
56.792
85.188
113.584
141.980
170.376
198.772
227.168
255.564

Pints to
Liters.

0.56792
1.13584
1.70376
2.27168
2.83960
3.40752
3.97544
4.54336
5.11128

Relation of Metric to Avoirdupois Ounces and Grains.

Equivalents
Metric in ounces
weights, and grains.

Grams. Oz.

Grs.

15|

92
108
123
139

Equivalents
Metric in ounces

weights. and grains.

Grams. Oz. Grs.

10
15
20

28.35
30
35
50
500
1000

154
231
308

25
103
334
279
120

Relation of Metric to United States Fluid Measure

C.c.
1

10
15
20
25
30
35
40
45
50

Fl. oz. Fl. dr. Mins.

16
21
42

3
25
46

7
28
49
10
31

C.c. Fl. oz. Fl.dr. Mins.

60
65
70
75
80
85
90
95
100

52
14
36
56
13
38

0
20
42

1000 c.c. = 1 liter = 34 fluidounces nearly, or 2|
pints

Relation of Metric to United States Measures of Length.

1 millimeter = ■£% of an inch.

1 centimeter
1 meter
1 kilometer

of an inch.
39f inches,
f of a mile.

To Convert the Centigrade or Celsi Scale into the Fahrenheit
Scale

If above the freezing-point of water, multiply
the degrees by 9, divide by 5, and add 32°.

Handling Ultra-rapid Plates

When the dull winter weather comes along,
photographers naturally look for some means
of keeping their exposures short. The first thing
they turn to is an ultra-rapid plate. Those who
have not been accustomed to the handling of
very fast plates, however, sometimes meet with
disappointment. And yet, there is really no
reason for disappointment, if a little care and
common sense are used in the dark-room. It is
only reasonable to expect that certain modifica-
tions in treatment will be necessary when a
very fast plate is used instead of one of moderate
speed.

The first thing is to see that the dark-room
lamp is safe. A light that is comparatively safe
with an ordinary plate may hopelessly fog a
very fast plate. It is a good plan to use as little
light as possible, especially when loading holders
and when taking the plates out of the holders
and putting them in the developer. It is during
these operations that the plates are most likely
to be affected by the light, because all plates
are more sensitive when they are dry than they
are after having been in the developer.

It sometimes happens that, even with the
fastest plates, there will be under-exposure in
dull weather. In cases of this kind the photog-
rapher has to get the most possible out of his
plates. He has to get all the detail he can with-
out getting harshness. The best way to do this
is to develop in a tank, or, if a tray is used, to
dilute the normal developer with an equal quan-
tity of water and to prolong development. This
method gives far more detail in the shadows, it
improves the gradation, and it does not clog up
the high-lights.

The temperature of the developer is another
important matter. Some professionals never
use a thermometer. These men would find that
a few cents spent on a thermometer would prove
one of the best investments they ever made.
The best average temperature for the developer
is 65°; in no case should it drop below 60°. It
is quite impossible to get uniform results with
fast plates, or, indeed, with any plates, if one
batch is developed in a solution of 70° and
another in a solution of 55°.

It should not be overlooked either, that fast
plates require more time for fixing than do those
of moderate speed. It is a mistake, when using
any brand of plates, to take them out of the
fixing bath immediately after the milky appear-
ance has disappeared from the back, but with
ultra-rapid plates it is more necessary than ever
that this mistake should be avoided. Fixing
should be allowed to go on for at least four or
five minutes after all the visible silver has dis-
appeared.

An ultra-rapid plate is a real help to profes-
sionals at this time of the year. Such a plate as
the Seed 30 enables operators to get negatives
of restless sitters on dull days, when with a
plate of a slower brand it would be quite impos-
sible. And the Seed Grafiex is also being used
to excellent advantage where even greater speed
than the Seed 30 possesses is essential. For
portraiture, however, the regular Seed devel-
oper, not the contrast developer, should beused

THE WORKROOM

237

tor the Seed Graflex. The fast plate is more
sensitive to light, therefore a safer light, or less
light, should be used in the dark-room. It is
capable of building up a good negative with a
very short esposure, but the negative image,
with all its shadow and half-tone, cannot be
rushed up in a harsh, strong developer. Seed
30 and Seed Graflex are thoroughly reliable
plates; one batch does not differ from another
in speed, in fineness of grain, or in scale of grada-
tion; but it is impossible to get uniform results
if the developer is at a temperature of 70° for
one batch and at 55° for another. — Photo Digest.

Items of Interest

Many professionals do not realize how much
their work would be improved by the use of a
long-focus lens. Examples of distorted per-
spective, caused by working with the camera
too near the sitter, can be seen in many windows
and show-cases. There are bust portraits with
their near shoulders looming up half as large
again as the far shoulders; there are three-
quarter lengths with hands out of all propor-
tion; and there are large heads writh noses that
look so bulbous that they are a libel on the
sitters.

In some studios a short-focus lens is the only
one that can be used when full or three-quarter
length portraits have to be taken. In these
studios, however, the operator should be able
to use a fairly long-focus lens for his bust por-
traits, even if he has to change his lens for the
other styles. There is always a danger, where
space is limited, of getting into the habit of
making one lens do for all kinds of work. When
this happens, the bad effects are very soon seen
in the portraits.

Apart from the question of focal length, the
choice of a lens is essentially a matter of per-
sonal taste — like the choice of a wife. How
should any one else know whether you are
likely to fancy an anastigmatic brunette or a
soft-focus blonde? Many of the leading profes-
sionals use modern anastigmats, whereas other
shining lights in protraiture stick to the old
types of portrait lenses. Some go in for clean-
cut detail in their negatives and get softness by
various dodges in printing, whereas others pre-
fer to get softness by using a lens that gives
diffusion.

Here are a few useful Don'ts for air-brush
workers: Don't use the ink too thick; the con-
sistency of writing ink is about right. Don't
forget to clean the air-brush after using it.
Don't lay the air-brush down on a table or other
flat surface; hang it upright in the clip pro-
vided for the purpose. Don't put your finger
over the front of the air-brush to see whether
the needle is sharp; you will find that it is, but
after being touched a few times it will be no
longer straight. Don't let anyone but an expert
try to repair your air-brush; send it to the
makers.

It is not generally known that .v-rays are
used in cigar factories. They are being used to
kill the destructive tobacco beetle. If the

beetle larva, which lives on the leaf, is not
killed, it develops, becomes active, and eats its
way through the finished cigar. In factories
where .v-rays are used no attempt is made to
kill the larva until the cigars are finished and
packed in boxes: the boxes of cigars are then
passed through the x-rays; the exposure destroys
all life without affecting the tobacco.

The scientific detective, too, has found .r-rays
of great value. During the past few months he
has used them extensively in ferretting out
contraband material. One dodge resorted to in
shipping rubber across the Atlantic was to pack
it in bales of cotton-waste. So carefully were
the bales made up that to all appearances there
was nothing suspicious about them. The scheme
seemed likely to succeed until certain bales
were selected for .v-ray examination. The pene-
trating rays revealed a denser substance inside
the cotton-waste. The bales were opened, and
packed in ever}' 350 pounds of cotton waste
were 250 pounds of rubber.

The rent paid for a photographer's show-
window space, in a leading thoroughfare, is so
high, compared with the rest of his premises,
that he cannot afford to let it get into a shabby
or neglected condition. — Photo Digest.

Carbon Transparencies

By transparencies I refer, in this article, more
especially to lantern slides; at the same time,
what is here written also applies equally to all
classes of transparencies, be they large ones for
framing, slides for the stereoscope, or for the
making of enlarged negatives.

It is strange that so much has been said and
written upon the advantage of using the carbon
process when making transparencies for use in
making enlarged negatives, and yet so little upon
its use for lantern slide work, most text-books
and writers passing the subject over with two
or three lines. Further, although our trade
workers almost invariably use the carbon pro-
cess for the production of large negatives, they
almost as invariably send out transparencies
made by any and every process but carbon,
except where specially stated on the order.
Why is this? Is it that they use the process
that first comes to hand when doing this class
of work: or is it that the photographic public
will not have carbon work? That silver does
not yield nearly so good results as carbon goes
without saying, though I do not intend to infer
that good lantern slides cannot be made by the
use of the many brands of lantern plates in the
market. Far from it. At the same time there is
no process that yields the best results with such
ease and certainty as the one under consider-
ation; no method that is less likely to yield a
transparency that is not good, and that at the
same time is accepted, to save trouble, as good
enough. Further, the very mention of the word
carbon to most workers simply gives them fits,
and one who knows the process is almost inclined
to also have fits, of laughter, at the look of horror
upon the face before him, knowing that the
whole thing is so simple, as he does. In fact,
an amateur, while watching me at work not long

238

THE WORKROOM

ago, exclaimed, "Why, carbon is merely child's
play." I do not intend to say it is so easy as
this, yet, for certainty of results, once the initial
stages have been overcome, no process can come
near it, and, if anything, a transparency is more
easy to make than an ordinary carbon print.

The tissue may be obtained either ready sen-
sitized or not, according to the time it is likely
to be kept by the user. Sensitizing is, however,
so easy that no one need fear to undertake it,
and sensitize his tissue one or two days before
he intends to use it. This course will give him
the advantage of being able to prepare just the
number of sheets wanted; and, moreover, he
can stock and prepare various colors, and thus
there is no need for one to be somewhat bound
down to one color for one day's printing.

The real trouble is that of drying the tissue,
after the bath, and the following hints may be
found useful. The sensitizing bath is prepared
as follows:

Water (distilled for preference) 10 oz.
Potassium bichromate . . \ oz.
Ammonia (liquid) .880 . 3 drops

The cut tissue is immersed in the solution for
thirty seconds, taking care that no air bells
form on the surface, it is then drawn over the
edge of the dish, and laid upon a sheet of glass
or zinc and lightly squeegeed {with a flat, not
roller squeegee), to get rid of the surplus moisture,
and hung up to dry, using either wooden clips
or pins. The solution should not be over 80°
F., but, on the other hand, the tissue may be
allowed to remain in, in winter, for from forty-
five to sixty seconds. It is best dried in a room
in which a fire has been burning during the day,
the sensitizing being done at night by gas or
lamplight, the tissue is hung near the fire-place
pinned to a clothes-horse or to the edge of the
mantelpiece, the clothes-horse being, say, five or
six feet from the fire, it will be dry, ready for
printing in the morning. The blinds must, of
course, be drawn, to exclude all white light.
The great point in drying is to watch that it
does not take too long, if it does trouble in
stripping is likely to result.

Another point that frightens amateurs is the
coating of the glass with the gelatin substratum;
this is not necessary, neither is the operation of
coating the tissue with collodion that is some-
times recommended; both these are intended to
prevent the delicate high lights from being
washed away during development, whether they
do so or not is an open question; I have used the
tissue with and without collodion, the glass
with and without the substratum, and with and
without either or both, and I have failed to find
the supposed difference that is said to be shown,
or any fault that could be put down to the non-
using of, or any advantage that I could trace
to the using of either the substratum or col-
lodion. It may be that I always keep my tissue
some two or three days prior to using, if this is so,
I see no reason to deter others from doing the
same, it certainly is in better working condition,
if kept this length of time after sensitizing pro-
vided always that it is kept perfectly dry.

The great thing is to have the glass chemi-

cally clean. The tissue after exposure to light
(with the usual safe edge using either a print
meter or another negative as a guide to print-
ing, i. e., a negative of as near as possible the
same density with a slip of P. O. P., by the time
the P. O. P., is printed to finished not toning
depth, the tissue will have had sufficient expo-
sure), it is then soaked in cold water until it
has become limp, the glass is then slipped under
it, and both withdrawn together, the face of the
tissue being in contact with the glass; it is next
well squeegred to get rid of any air bubbles, and
put under blotting with a slight weight, for from
fifteen to twenty minutes.

The time passed it is placed in warm water,
and when the gelatin begins to ooze from the
edges freely, the paper is stripped off, and the
warm water gently laved or splashed over the
print, which is now on the glass, until the excess
of gelatin is removed, this being the develop-
ment. When fully developed it is placed in cold
water for a short time to chill the gelatin, and
then given from three to five minutes in an
alum bath, and finally washed for, say, five min-
use, and put aside to dry.

When dry all that remains to be done is to
mask and bind up as usual, but remember that
the print, being reversed, the spots which mark
the side to be placed next the condenser must
be placed on the glass side of the slide itself, and
not, as is usual, on the cover glass.

Any tissue may be used for the transparencies
or lantern slides, but for the very best results I
would say use the special transparency tissue,
this contains more pigment and of a finer nature.

Transparencies or lantern slides may be pro-
duced in a variety of colors by using aniline
dyes.

As a final word, may I say, never use the
cushion-shape masks. For slides they are a
mistake, and never should be used. Square
corners, please.

To find the approximate focal length of a
lens, focus on a distant object, e. g., a church
spire, and measure the distance from lens to
ground glass. With R.R. lens measure from the
stop; with a single lens measure from the
diaphragm.

The Action of Potassium Bromide Used in

Developers for Increasing Contrast

in the Developed Image

It is of course well known that the addition
of potassium bromide to developers produces,
in varying degrees according to the developer
employed, a retarding effect on the action of
the developer, while increasing contrast in the
developed image, within the . limits defined in
our previous study, as published in the Bulletin
de la Societe Frangaise de Photo graphie, 1909.

Potassium bromide is not regarded as the
only substance capable of increasing contrast
in the developed image; it is commonly supposed
that this property belongs not only to the vari-
ous soluble bromides, but also to all substances
which retard development. This theory has
not, however, been made the subject of any
decisive researches.

THE WORKROOM

239

In the present study we have sought to eluci-
date the following points:

1. Is bromine the active and indispensable
element in the manifestation of the above-
mentioned phenomena, and can it exercise its
action under any form in the state of a mineral
or organic compound?

2. Are substances which contain no bromine,
and which retard development, capable of pro-
ducing the same effect as bromides on the con-
trasts of developed images?

3. Can the method of action of bromide in
developers be deduced from the foregoing
results?

For the purpose of ascertaining whether
bromine is the active element in the action of
potassium bromide on the contrasts of developed
images we added to one of the developers most
susceptible to the action of potassium bromide
(hydroquinone), made up according to the
following formula:

Water 1000 c.c.

Anhydrous sulphite . . 25 gm.

Carbonate of potash . . 38 gm.

and containing 0.24 grams of potassium bro-
mide per 100 c.c, equimolecular quantities of
the following bromides— quantities correspond-
ing to the amount of potassium bromide pro-
ducing the maximum contrast: sodium bromide,
ammonium bromide, lithium bromide, calcium
bromide, barium bromide, magnesium bromide.

All our tests were made as follows: Different
plates were exposed under identical conditions
by means of the Chapman-Jones sensitometric
scale, and in such manner as to obtain in each
case the appearance of the same sensitometer
number. They were then developed compara-
tively with the test developer and with the same
developer plus the various experimental sub-
stances. From the relative intensities of the
faintest and strongest square we deduced the
value of the contrasts of the image in each par-
ticular case.

All the soluble bromides gave similar results.

Hydrochromic acid and bromine water be-
haved in the same manner as the bromides.

The action of the bromates was slight, and
could not be compared with that of the bromides;
they had no effect on the image.

The action of the hypobr ornate s is of no inter-
est, as these substances do not exist in the pure
state, and always contain bromides.

Among organic bromic compounds we exper-
imented wiih bromal and bromacetophenon.
These acted similarly to bromides, but probably
under the Influence of the alkali of the developer
they partially saponify, giving alkaline bromides.

This appears to be confirmed by the fact
that when added to a non-alkaline developer,
such as diamidophenol, they are ineffective.

We also tested comparatively the action of
the bromides and that of the other halogenic
salts — chlorides, iodides, fluorides of potas-
sium, of sodium, of ammonium and of lithium
used in equimolecular proportions correspond-
ing with the quantity of potassium bromide giv-
ing the maximum effect. None of these salts
increases contrast; the iodides even diminish it,
and during development transform the silver

bromide into iodide, necessitating prolonged
fixation.

Further, not only do these substances, unlike
bromides, fail to remove the initial fog of the
image, but certain of them increase it.

In a further series of experiments we tested
the action of various retarding substances such
as sulphates, ferrocyanide and ferricyanide of
potassium, and potassium bichromate, also the
action of acids.

None of the former increased the contrast of
the developed image. The acids we experi-
mented with were hydrochloric, hydrobromic,
hydroiodic, nitric, sulphuric, phosphoric, citric,
and tartaric, of which hydrobromic acid alone
increased contrast, probably by forming bro-
mides with the alkali or sulphite of the devel-
oper. The other acids retard development with-
out appreciably increasing contrast. This also
is the case with soda bisulphite. In the case of
non-alkaline developers — diamidophenol, for ex-
ample— a small quantity of 40 per cent, soda
bisulphite (from 2 to 5 c.c. per 100 c.c. of devel-
oper) accelerates instead of retarding develop-
ment, and produces, not an increase, but a
diminution of contrast. With more than 5 c.c.
of bisulphite the time of development increases
with the quantity of bisulphite, and up to 15
c.c. of bisulphite per 100 c.c. of developer, con-
trast is accentuated, but to a much smaller
extent than results from the addition of bromide.

If too little or too much bromide be added to
diamidophenol developer, its effect is scarcely
perceptible; this, doubtless, is the reason why
the action of bromide on this developer was for
long unrecognized. On the other hand, its
effect is very marked when used in the propor-
tion of between half and one gram of bromide
per 100 c.c. of developer.

To sum up, the property possessed by potas-
sium bromide of increasing contrast in the devel-
oped image is not common either to haloid salts
or to other substances capable of retarding
development.

The preceding experiments seem to indicate
that this property is peculiar to bromine in the
state of soluble bromide or to organic com-
pounds capable of forming a bromide with the
alkali of the developer. While not enabling the
theory of the action of bromide on developers
to be elucidated, these experiments lead to the
supposition that this particular action of the
soluble bromides may be due to the combina-
tions which they may form with the insolated
silver bromide, and which combinations may
not be possible in the case of other soluble
haloid salts.

Possibly these combinations are less easily
reducible than the silver bromide itself under
the influence of the developer, thus explaining
the increase of contrast by the use of these
substances.

The Necessity for Pure Chemicals in
Photography
In the conduct of any business where skilled
labor is employed and the main object being to
excel, it will always be found that the best of
material must be used, although the cost of the
material may often be high.

240

THE WORKROOM

In one important branch of photography, viz.,
photo-engraving, it is a necessity that any chem-
ical used should be of the highest purity. It is
well known that in making up the enamel for
the burning-in process upon copper, and the
sensitive albumen solution for zinc printing, that
the bichromate of ammonia must be of the finest
description, and the albumen used should be
from new-laid eggs; if the eggs are at all stale
the sensitive mixture is useless.

Only a few years ago common washing soda
was recommended in developing formulas, the
results being constantly variable. Common
washing soda is always very variable in compo-
sition. Under ordinary conditions every thir-
teen pounds of washing soda should contain
three pounds of carbonate of soda and ten pounds
of water of crystallization, but this is not always
the case; there is oftentimes a large quantity of
soda ash, as it is termed, which is nothing more
than crude carbonate of soda, which is highly
injurious when forming a part of the develop-
ing solution, causing fog all over the plate, or
with bromide paper a gray veil is produced over
the whites of the picture. Sulphite of soda, too,
should be well looked after, for this is readily
converted into sulphate of soda upon exposure
to the air, and in some districts where the atmos-
phere is heavily charged with carbonic acid gas,
both washing soda and the sulphite are partly
converted into bicarbonate of soda. In either
case this impurity is highly conducive to the
production of fog. Both sulphite of soda and
the carbonate should be well protected from
the action of the atmosphere previous to use.
Only too often this simple precaution is not
attended to, the consequent result being a con-
tinued veiling all over the negative. The quality
of the plate is at once considered defective.

When the wet collodion process was in univer-
sal use for everyday portraiture the use of triple
crystallized nitrate of silver was a necessity.
By the use of a chemical of such high purity
the best of negatives could be made. Now that
the gelatin dry plate has become universal it is
just as necessary to pay attention to the purity
of the developing agents to secure the finest
quality possible in the resultant negative.

By the use of chemicals that contain various
impurities, no matter what those impurities
may be, the negatives produced are sure to be
of a thin and weak nature, which after-intensi-
fication does not improve, only to a very slight
extent; consequently every print suffers in
quality entirely through the use of some chem-
ical in the developer that cost only a few cents
per pound less than the pure article. Competi-
tion in the manufacture of chemicals for photo-
graphic purposes for some years past has done
a great deal to keep the purity to a high standard.

The consumption of hyposulphite of soda has
increased enormously of late years. Every cask
of hypo should be tested when first opened by
making up a small quantity of solution and test-
ing with blue litmus paper. If after a few min-
utes the test paper turns only faintly red it will
indicate an acid condition. To correct this a
20 per cent, solution of carbonate of soda should
be made up and a few drops added to the hypo
solution. This will correct any tendency to

acidity. A weak solution of ammonia is some-
times used for the purpose. The use of this
chemical is too risky, because of the caustic
nature of this body, which will be sure to affect
the color of the print, giving a tendency to a
foxy brown after the print has dried.

One chemical that is very largely used at the
present day is the chloroplatinite of potassium,
represented by the symbols K2PtCl4, which
should contain 47.2 per cent, of the metal plat-
inum. This salt sometimes contains too much
chloride of potassium, this being a compound
salt made up of the protochloride of platinum
and chloride of potassium, the latter being an
extremely cheap salt. If this salt is only of a
light-red color, bordering upon orange, then it
contains too much of the latter salt. Where it
presents a deep blood-red color and the crystals
are well formed it can be accepted as the true
salt. When this salt is dissolved the water
should be hot; this ensures perfect solution, as
it is only sparingly soluble in cold water. When
chloroplatinite of potassium is of the purest
kind, many more prints can be toned with it
because of its correct quantity of platinum.
Although inferior qualities may be offered at a
lower price, the amount of toning cannot be
carried out that can be done with the pure
article.

These remarks also apply to chloride of gold,
which today is rarely found to be adulterated.
If this chemical possesses any other salt it is
generally sold under a correct name, such as
chloride of gold and sodium, at a less price per
ounce.

This compound salt, being an excellent one
when made right for toning purposes, is pre-
ferred by many well-experienced photographers
to the use of the pure chloride of gold, although
it is difficult to conceive how the compound salt
can answer better than the pure article in the
line of gold toning. Practice alone with special
toning solutions may have much to do in the
production of pictures of a fine quality with
the sodium-gold chloride, as it so often has to
do with other practical points in the art of
photography.

The use of impure bichromate of potash in
making up the sensitizing solution for carbon
tissue is very remarkable. The writer can call
to mind a case where a considerable quantity of
carbon tissue had been prepared in which a fresh
sample of bichromate of potash had been em-
ployed to make up the sensitizing solution.
Every care had been taken in the preparation
and the tissue dried as usual in a room where
thousands of square feet of tissue had been dried
before. A small quantity only had been used
upon the first day. A number of prints were
made the second day, when upon trying to
develop several large prints they turned out to
be insoluble. Other prints were tried with the
same result. All efforts to locate the cause were
found to be useless, until a new sensitizing solu-
tion was made from another sample of bichro-
mate of potash. The result was that the tissue
that was sensitized, some being from the same
rolls as before, turned out perfect prints, and
possessed the same keeping qualities as hitherto.
Upon testing it was found that the bichromate

THE WORKROOM

241

was at fault; the material had been supplied
from stock intended for electrical use, for the
making up of battery solutions. For this latter
purpose it presented no fault at all, but when
employed as a sensitizer for carbon printing it
was practically useless, causing a loss in good
tissue, as well as time and labor. There can
be no doubt that upon many occasions failure
has been the result entirely through the use of
impure bichromate of potash, the consequence
being that the photographer who made a trial
of carbon printing, not having succeeded, at
once gave up any further trials because of his
first non-success.

The use of bichromate of ammonia has been
advocated by some workers. Of course this salt
answers the purpose; the cost, however, is very
high compared with pure bichromate of potash,
at the same time giving no advantage. Pure
bichromate of potash will cost about ten cents
a pound more than the common article, and is
capable of producing results more than ten
times better than can be obtained with the
common bichromate.

The use of sodium bichromate has been em-
ployed in carbon tissue sensitizing. There is,
however, no advantage in its use over the pure
potassium bichromate.

In the preparation of developers made with
pyrogallic acid, it is well known that some makes
of this chemical are superior to all others. To
such an extent does this show itself that the
developing power of some makes is quite 50 per
cent, better, the quality of the developed image
being superior in every particular. Although
the price of pyrogallic acid varies with different
makes, there should be no hesitation in paying
a higher price for the best article.

There is not only economy in this, the good
quality of the negatives produced will more than
compensate for the small increase of first cost.
Be sure in the first place that the chemicals are
pure; then if there is a fault at all, it will be
more easily located and rectified, and the resul-
tant wTork will be both successful and satisfactory.

Preventing Stained Gaslight Prints

It is surprising how frequently one hears from
one's fellow workers complaints about gaslight
prints staining when in the hypo bath, and the
query pages of the photographic press go far to
indicate how very common this trouble is. An
acid fixing bath has been suggested as the cure,
and while admitting this in every way to be
effective, the writer would point out that it is
not necessary to prevent staining. The causes
of stains are under-exposure and forced or pro-
longed development; or what is, in the opinion
of the writer, an even more probable cause, that
the developer is not washed out of the film of
the print before it is put into an over-worked
or exhausted hypo bath. It has often been noted
that the first few prints passed directly from the
developer to the hypo do not stain; it is always
the succeeding ones that bring this trouble,
proving that if in its weaker condition the solu-
tion is not washed thoroughly from the print,
it will tend to oxidize before the hypo can get
to work on the unused silver in its emulsion.

During a long experience of this process, in
which the number of prints made on gaslight
paper must have run into thousands, the writer
has observed three simple rules, which, if fol-
lowed, will make stained prints impossible: full
exposure, fresh solution, and rapid development,
and most important of all, a thorough rinse
between development and fixing. If the devel-
oper is washed from the film, it is impossible
for the print to stain. If the worker has a bowl
of clear water on his table or bench, between
the developing and hypo dishes, and the print
is given a good rinse in this, a great part of the
developer will be removed. The above, though
exceedingly simple in use, will be found most effec-
tive in actual practice. — Amateur Photographer.

A Dark-room Stock Record

Photographers who make up their own solu-
tions have need to keep a number of chemicals
in stock, some of which are not very often used
and may therefore be overlooked. To avoid
running out of stock of a given reagent at a
critical moment, the following method may be
adopted with very little trouble. Go over the
shelves carefully, and taking each bottle or jar
in its turn consider what is the smallest quan-
tity of each reagent that ought to be kept in
stock to be on the safe side. This can be judged
quite easily, a thick black line being drawn on
the label to mark the danger point. Then take
a packet of postal cards cut into half, or some
thick white notepaper cut into quarter sheets,
and write the name of one reagent on each card,
filing them in alphabetical order in a small box.
Write the names very boldly, so they can be
seen in a poor light. There will be plenty of
room on the cards to note any particulars that
may be considered necessary, such as where
purchased, price, date of purchase in the case of
ammonium sulphocyanide and other reagents
that do not keeD well. These preliminaries will
not take very long, and have only to be attended
to once. A few colored metal clips, or "tick-
lers," as they are often called, should be obtained
from a commercial stationer, or ordinary wire
clips as used for holding papers together will
serve as a substitute. Whenever the stock of a
given reagent is found to be approaching the
danger line, a clip should be fixed to the card
bearing the name of that substance. The cards
should be referred to periodically, and supplies
ordered of any chemicals to which attention is
drawn by a clip on the card. The card index
serves another useful purpose, as it constitutes
a complete record of the stock. Little-used
reagents are often entirely forgotten by the
busy worker, and only discovered after a fresh
supply has been purchased. The cards save this
unnecessary expense. — Amateur Photographer.

A Note on Spotting Negatives

There are very few negatives indeed made
by beginners or even quite advanced workers
that do not require a little elementary spotting
of pinholes or defects in the film. There is,
however, a right and a wrong wray of doing this,
and if the work is not properly done the result
of the attempted cure becomes worse than the

242

THE WORKROOM

original defect. Pinholes, large or small, are
best blocked out by a small spot of water-color
applied with a No. 2 brush. Many workers do
not possess a proper retouching desk, and for
simple spotting there is hardly any need for
this. The plan adopted by the present writer is
to hold the negative in the left hand near a
window with a lace curtain, while the brush,
charged lightly with water-color, is held in the
right. The brush is simply brought straight on
the pinhole, when enough pigment should be
deposited to block any transparency. No
attempt should be made to do any painting, as
this is fatal to success, the idea being that suffi-
cient pigment should be deposited at one sim-
ple touch of the brush to completely block out
the defect. Another point that must be noted
is that the depth of the pigment must coincide
with the character of the negative at that part;
it is useless to put a heavy deposit on a fairly
deep shadow — such would print white, and give
more trouble in spotting the finished print. The
character of the spot should match, as far as
possible the depth of the negative, and if this
is done much spotting on the print or enlarge-
ment will be obviated. For instance, in land-
scape work, pinholes appearing against broken
foliage, if carefully spotted, will be invisible in
the finished print or enlargement. Perhaps the
most difficult of all these defects to spot out are
when the pinholes appear in an expanse of sky,
or, say, upon the face of the sitter in a portrait
study, and here again it is most important that
the depth of the sky should be as exactly matched
as possible by the spotting pigment. In heavy
shadows parts of the subject, pinholes, except
when lantern slides or enlargements of extra-
ordinary size are wanted, may be ignored or
spotted with the faintest possible trace of pig-
ment. In short, the less spotting or retouching
is done on the negative the better. The aim of
the worker should be to resort to it only when
absolutely obliged, and this, it ordinary precau-
tions are taken, should be but rarely. It does
sometimes happens, however, that slight defects,
over which the operator has no control, are
present in plates or films, especially at the pres-
ent time, and it is here that the value of simple
spotting comes in. If it is desired to remove
the pigment due to faulty operating, a rag
soaked in methylated spirit will be found effec-
tive; but before trying on a valued negative the
worker should practise on an old or a waste
one. — Photography.

Cleaning Negatives

When removing the plate or film from the
wash water, the film surface should be swabbed
off with a piece of cotton batting soaked in
water. It is a good plan to do this under a
gently flowing water tap if possible. This will
prevent the drying of dirt or grit on the emul-
sion, causing innumerable pinholes on the fin-
ished print. This fact is realized by most
workers soon after they have made a few prints.
But it is surprising how few of them appreciate
the need for cleaning the back of a glass plate
after it has dried, or of swabbing the back of a
film negative after it is washed. It makes less

difference in the case of films as they ordinarily
dry comparatively clean. Plates, on the other
hand, can absorb moisture on only one side of
the glass, the film side, and the other is invari-
ably coated with a deposit when the water has
evaporated. This should be carefully swabbed
off with a moist cloth, especially if the negative
is used in the enlarger where the outline of a
deposit might be projected on the easel with
the image on the film side, spoiling the enlarge-
ment. In some districts where the water con-
tains considerable mineral matter and the deposit
is likely to be heavy, it is best to swab off the
back of the plate before putting it in the rack
to dry, rubbing the glass quite dry before rack-
ing the plate. To clean the front and back of a
strip of film, hold it above the washing tray and
slip it between the first and second fingers, run-
ning them down the length of the film a couple
of times to remove all excess moisture. Care
must be taken not to scratch the film when
doing this, especially in hot weather when the
film is soft. Long parallel lines will result if
the film is not handled carefully, and they will
show up more plainly on the print than the
negative. — Process Monthly.

Changing the Color of Lantern Slides by
Redevelopment

There are times when making Ian ern slides
that the time of exposure may have been some-
what short, and the forcing in development has
given a very unsatisfactory color. Both these
may be changed and intensity added so that,
what would be otherwise a useless slide, may be
brought up to a suitable color and the correct
intensity gained by simple treatment.

The method of bleaching I have always found
to affect the result, the bleaching mixture that I
have found in my own practice, is the following:

No. 1 Bleaching Solution
Potass, bichromate . . 50 gr.

Water

Pure hydrochloric acid

5 oz.
1 dram

Place the defective slide in this after it has
been washed for ten minutes in a stream of water.
This is to make sure that all the hypo is washed
out of the film. The time of bleaching is very
short in many cases; only half a minute. The
slide must now be well washed for several
minutes in a stream of water, and redeveloped
under ruby light, with any good metol hydro-
quinone; redevelopment will be complete in the
course of about one minute. The slide must
now be washed again and dried.

Sometimes the intensity after this treatment
is insufficient, although such cases may be rare.
Further intensification that will bring the slide
up to the standard may be accomplished by
bleaching it once more in the following bleacher
and bleaching it with a solution of sulphite of
soda:

No. 2 Bleaching Solution

Water (hot) 8 oz.

Bichloride of mercury ... 30 gr.
Potass, bromide 30 gr.

THE WORKROOM

243

When this is cold insert the lantern plate.
Let it bleach clean through, wash it thoroughly
and blacken it by immersion in a strong solution
of sulphite of soda (not sulphate). After this
operation wash again well and dry. The slide
now will have attained the requisite density,
the color will be identical with slides developed
with pyrogallic acid. To obtain slides of a
chestnut brown color they must be bleached in
the following bleacher:

No. 3 Bleach

Red prussiate of potash . 60 gr.

Potass, bromide 30 gr.

Potass, iodide 20 gr.

Water ammonia .... 4 drops

This slide when inserted into this solution
will now become bleached, when it must be
washed well and converted into sulphide of
silver by immersing it in the following sulphide
bath:

Water . .... 5 oz.
Sulphide of sodium (not sul-
phite) 60 gr.

The color will soon become a bright chestnut
brown, when it must be washed slightly and
immersed in a 10 per cent, solution of common
alum for a short time, again washed well, dried
and mounted with a suitable mat, or mask, and
finished by binding in the usual way.

Some Causes for Worry, and How to Remove
Them

In his remarks on studio shutters lately the
editor remarked that "if some means could be
found to keep the shutter open during focussing
the large bellows type of shutter would be
ideal." I have had one of those shutters in con-
stant use for over six years, and have never
found it to fail since I put a little extra attach-
ment to it in the form of a fine cord fastened to
the right-hand half of the metal framework of
the shutter and led through a small hole in the
woodwork of the camera. The end of the cord
hangs outside the camera, and a very light pull
opens both halves of the shutter. On letting
go the cord the shutter closes, and is ready to
be opened again by pressure on the bulb. The
cord can be held in the hand while focussing; or,
if both hands are wanted free, the cord can be
jammed by closing the focussing screen on it.
When opening the focussing screen to put in
the dark slide the cord is released and the shutter
closes. The whole thing is so simple and sure
that it should be fitted to all such shutters. The
ball and rubber tube being used only to make
the exposures, they last a long time. Mine has
never once had to be renewed in all the six years,
and works as well today as when first fitted.
And should anything happen to the ball or tube,
exposures can be made quite as well and quickly
with the cord. The camera and stand are of the
usual rigid kind found in most up-to-date studios.

Another thing that bothers a good many
operators is the want of extra dark slides to fit
the studio camera. This can be got over in
quite a simple manner by fitting any other slides
you have to the studio camera. Most photog-

raphers have a whole- or half-plate camera,
and a number of slides to fit for outside work.
To make such slides fit the studio camera, you
have only to get a piece of board (cross-ended
if possible) made to fit into the back ot the studio
camera, either to fit in in place of the ground-glass
framework, if this is removable, or, if not, just
to slip in like a dark slide. Then in the center of
this cut an opening the size of the plates you may
have a number of slides to fit. Then take the
reversing back of the outdoor camera, and fit it
over the opening in the board by screwing three
pieces of narrow wood round three sides, lea^s, ing
the fourth side open to draw out the shutter of
the dark slides. To render the joints light-tight
pieces of velvet should be glued on. A few turn-
buttons will hold the reversing back in its place,
and you have a small hinged focussing screen in
the center of the back of the large studio camera
which is all ready to take the dark slides belong-
ing to it. The back of the studio camera being
square, the board with attached focussing screen
can be reversed for either upright or oblong
pictures, and proves a great convenience when
a number of plates are required at one time,
Perhaps to some this seems rather troublesome,
but the whole thing can be made and fitted in a
spare hour at any time. We are all quite well
used to having loose panels to the front of our
cameras to take different lenses, and this is only a
loose back to our camera to take a smaller fccuss-
ing screen and dark slides that would otherwise
be doing nothing. The same remarks apply
to any large outdoor camera where slides are
few and an extra supply of plates of a smaller
size is required. An extra panel to fit the back
of the large camera can be made to take the
focussing screen and dark slides of any smaller
camera, and perhaps save the carrying of an
extra outfit. By this means whole- and half-
plate slides can be used in a twelve by ten camera,
and half- and quarter-plate slides in a whole-
plate camera.

Another source of annoyance at times, are
the carriers for a smaller plate in a large slide.
They have perhaps not so much use now as
formerly, but still they are used, and the plate
has a habit of slipping out of its place when
least expected, giving us a plate only partly
exposed, the other part being protected by that
part of the carrier it has managed to slip behind.

The cure for this is to have all carriers made
so that it is almost impossible for the plate to
slip once it is in its proper place and the dark
slide closed. To do this one has oniy to take -a
piece of stout black paper and cut pieces about
half the size of each carrier. Now run some
glue round three sides and press well down on the
carrier, forming a sort of envelope in which the
plate reposes. Xo reasonable amount of shaking
\\ ill dislodge the plates in this, and one can set
out with a light heart, knowing the plates, when
you come back, will be in the same place as when
you left.

It is little worries like the above which try one's
temper, and if the cause can be removed in a
simple manner by the exercise ot a little ingenuity
and time, it is surely worth the trouble taken. —
J. Peat Millar, in British Journal of Photog-
raphy.

244

THE WORKROOM

Matt and Glazed Prints by the Carbon Process

Making carbon portraits in 7x5 or 8x6
sizes by the usual double transfer process,
employing a flexible support to develop the
prints upon, always gives a dull or semi-matt
appearance, but not a complete matt surface,
one that should give no semblance of gloss.

By a slight manipulation of the Lambertype
process a matt surface can be obtained, and, as
two methods are available, I shall desciibe them
as used in my general practice, which may prove
of service to other photographers. The whole
process of carbon printing will not be gone into
here, because it is assumed that my readers are
acquainted with the process.

The formula for the sensitizing solution is
given, owing to its having answered well for the
purpose, therefore it can be depended upon for
all the usual kind of work in demand for good
ordinary negatives, and as the tissue when sensi-
tized with it will dry, and be fit for use in less
than lour hours, oftentimes it will dry in less
than two hours, which in cases of hurry-up
orders gives an advantage.

Sensitizer

Warm water 50 oz.

Potassium bichromate (powdered) 3 oz
Ammonium carbonate ... 1 dr.
When cold add alcohol ... 20 oz.

The sensitizer must now be filtered and kept
in a covered stoneware jar or a wide-mouthed
brown colored glass bottle, when it will be ready
at any time for sensitizing the tissue.

The best kind of plate to form the matt sur-
face is the fine emery ground glass such as is
used for focussing screens of the camera or emery
ground opal glassplates. Although the latter
are more expensive than the former, an advan-
tage is gained by the use of these in enabling the
exact quality of the portrait to be easily seen
before the final transfer, while in the case of the
camera screen plate some practice is required
to decide at a glance by reflection from a dead
white surface the correct depth for a finished
print. This is not a difficult matter; it is simply
acquired by practice.

The plates which may be 7 x 5 are washed in
warm water, to which a piece of carbonate of
ammonia has been added, about the size of a
walnut, in half a gallon of water, has been found
to answer the purpose. This will remove any
greasy finger-marks or adhering dirt without
injury to the hands. The plate while still wet
must be rinsed in a stream of water and placed
in an ordinary negative rack until dry.

Stripping Medium

Pure white wax 15 gr.

Ether (sulphuric) .... 5 oz.

Pure benzole § oz.

A small quantity of this must be rubbed over
the ground surface of the plate, and polished
off with light rubbing. Treat all the plates
required for the work with this stripping medium
and coat them with the following collodion, and
as each one is coated place it into a grooved
washing tank of cold water.

Film Collodion

Alcohol (pure) 5 oz.

Soluble cotton 50 gr.

Ether (sulphuric) .... 5 oz.

This collodion must be filtered, to separate
any cotton fiber, or if time permits, let it stand
undisturbed for a week, and pour off the clear
portion for use.

The tissue of any appropriate color, having
been exposed, may now be steeped in cold
water until it lies flat. One of the prepared
plates is now slipped beneath the tissue, the
two are lifted together, and brought into com-
plete contact by the use of the squeegee.

In the course of half an hour development in
hot water may be proceeded with. As soon as
the development is completed the plate must
be washed in a stream of cold water, treated
with the usual 5 per cent, alum bath, washed
again and dried. The remainder of the process
is the same as for double transfer: the prepared
paper for the final support is softened in hot
water, the dried plate having been allowed to
soak in cold water for half an hour: the two are
squeegeed together and allowed to become quite
dry. The print is now separated from the glass
plate by the insertion of the tip of a penknife at
one corner, and lifted off, when it will be found
to possess the exact matt surface of the plate.

If glazed prints are wanted all that one has
to do is to use polished plate instead of the
ground variety, all the other operations being
the same, when a print possessing a very fine
transparent gloss will result. The employment
of grained zinc plates has been advocated by
some workers. The use of these is not advised,
for should they at any time become scratched,
in the routine of general work, they are then
irreparably ruined and cannot be utilized again,
while glass, either the kind used for focussing
screens or finely ground opal, possess no such
objection. The only objection that can be urged
against the use of glass as a temporary support
is its liability to breakage. With careful hand-
ling this forms a very remote objection, and
should it occur in many instances a 5 x 4 plate
can be cut from a 7 x 5 and still be brought into
use. If a print made as described should prove
to be a little too weak, it can be easily intensified
and utilized by using this intensifier.

Intensifier for Carbon Prints

Potassium permanganate
Water

100 gr.
5 oz.

Immerse the plate, watch the depth of color,
as soon as this is reached, remove the plate, wash
it well, dry, and follow with the transfer paper
in the same manner as for the others.

The collodion film described will form a good
protective coating to the print, either for the
matt or glossy surface. The following process,
which is the second way of securing a matt sur-
face, can also be employed successfully, only in
this case the use of rosin and beeswax is neces-
sary, the plate being rubbed over with talcum
powder in the first operation and finished with
the wax solution described:

THE WORKROOM

245

Resinized Solution

Yellow rosin 50 gr.

Pure beeswax (use no imitation) 50 gr.

Benzole 5 oz.

Spirit of turpentine .... 5 oz.

This will take about a day to dissolve com-
pletely, when it may be used upon a soft piece
of rag, using only a few drops rubbed well over
the talcumed surface, and polished with another
soft rag, by light rubbing.

The exposed and well-wetted tissue is applied
directly upon the plate, squeegeed down,
allowed to stand for half an hour as in the last
method, and developed in the same way, finish-
ing the operation with the double transfer paper
and drying in the same manner. As soon as
they are dry, the prints may be removed as
with the collodion base, a matt surface being the
result. Any spotting that is to be done must
be made with an albumen color, such as can be
purchased in tubes, or a little white of an egg
may be used when applying the color, which is
preferably made by rubbing a solid cake color
with a drop of water and albumen upon a piece
of ground opal glass, watching the tint upon the
side of the opal.

Weak Points in the Beginner's Operating

Seeing, as we do, much work by immature
portrait operators, which is sent to us for con-
structive criticism, we notice that the same
errors, both artistic and technical, occur over
and over again, and as it is possible to group
them to some extent, we may do here in an
article what we are continually doing in indi-
vidual cases in answers to correspondents.

Dealing with technical matters first, we
should be inclined to say that the weakest point
is the focussing. This is not to suggest that the
operator is unable to see when the image on the
ground glass is sharp, if that were set as an
actual problem. But it does often happen that
the face is sharply focussed, and very little
attention is given to other portions of the sub-
ject. Of course, if an ordinary half-plate land-
scape camera is employed, fitted with a lens of
seven or eight inches focus, the aperture being
//8 or even //6, there is little difficulty in get-
ting the whole of the subject reasonably sharp.
But focussing with a rapid portrait lens of fairly
long focus is a much more complex matter.
With a lens of 16-in. focal length working at
fi'6, very careful manipulation of the swingback
or front, together with careful posing, will be
necessary if the definition is to be good enough
to avoid loss of structure. By loss of structure
we mean a fuzziness, which makes it difficult to
say what the material is of which an object is
made. We are not advocating biting defini-
tion, but it ought to be possible to say whether
a certain area represents some fabric or a pol-
ished piece of furniture.

It is, then, in the use of the swingback, both
the vertical and the horizontal swings, that the
beginner needs to practise, and as successful
operating requires not only precision but rapid-
ity of execution, he should be so familiar with
the movements and the effects they give that
he can unhesitatingly do the correct thing and

coordinate these movements with that of the
normal focussing pinion or screw.

It is too commonly supposed that the swing-
back is a something which enables one to get the
hands in focus at the same time as the head
when taking a three-quarter length portrait.
In actual fact the swings are quite as frequently
needed for the focussing of a head-and-shoulders
portrait. They are often neglected because the
operator will not take a comprehensive view of
the ground-glass, and because he is attracted
by the "beautiful effect of the light on the face,"
or something of that kind, and overlooks the
fact that the front of the dress is quite ill-defined
and fuzzy.

Here, as in every other direction, observation
must be cultivated and manipulative skill
obtained by constant practice, and it is a good
plan for every beginner to practise focussing for
half an hour a day with some friend who will
sit still and patiently. The focussing may be
done first in the ordinary way, and then criti-
cally and deliberally checked by the worker
himself. Xo plates should be exposed in this
practice work, for the exposure of plates leads
to a lack of concentration on the one point being
practised.

Turning now to the artistic side, we may refer
to the commonest failing in lighting — that of
turning the face toward the light. It is curious
that even a beginner should not recognize that
to do so will give a more or less flat and insipid
lighting. Probably this is merely a refuge, taken
because of an inability to balance the light and
shade of the face properly — that is, the light is
harsh and the shadow is heavy — and because
the operator cannot handle his light properly,
he turns the face toward the light in order to
avoid the heavy shadow. If he would remember
that the light from the sitter's end of the studio
gives brilliance and the light from the camera
end gives softness, he could increase or diminish
the strength of the lighting as desired, and would
find it comparatively easy to obtain delicate
modeling with just a sufficient touch of
"sparkle." WTe are assuming, of course, that a
proper arrangement of blinds for controling the
light is installed and that head screens and
reflectors are available.

When we come to the posing and the "placing "
of the portrait, we find the proportion of satis-
factory results smaller still, for acuter percep-
tion and more training are here necessary than
for lighting and focussing. Posing and placing
are really variants of design, and the average
Englishman has no feeling for design. Among
the commoner faults we may mention the fol-
lowing: the head is too low down on the plate,
suggesting a short person, and giving a lack of
dignity to the portrait. The portrait is neither
a head nor a half-length, but includes a part of
the hands. It is not wise to lay down hard-and-
fast rules in such matters, but, broadly speak-
ing, if the hands show at all, they should be a
considered part of the arrangement, and not
suggest that they have been quite neglected and
overlooked by just peeping in at the edge of the
print. In the same way we have seen a sitting
figure, taken against a white background, the
vignetting just cutting off the feet and trouser

246

THE WORKROOM

bottoms. Such a print includes either too little
or too much ; in other words it should have been
a full length or else a three-quarter length.
Prints of this kind suggest that the worker was
either careless or unable to make up his mind
what he really wanted on the plate. Posing
need not be carried out from the artistic point
of view to the destruction of any natural or
characteristic attitude, but certain fairly well-
defined "conventions" should not be lost sight
of entirely.

In conclusion, we may remark that the only
way in which the beginner can hope to overcome
the difficulties is by tackling them individually.
The amateur's plaint often is that there are so
many things to think of all at once. So with
portraiture and it is scarcely to be expected that
full attention can be given to the posing and
placing of the portrait if the use of the swingback
is still an unmastered problem. One or other
will surely go by the board. — British Journal of
Photography.

Life-size Portraits

The expression "life-size" portraits is used
in two ways, and apart from this may give rise
to some confusion unless applied with some
common sense and some knowledge of the curious
way in which illusion may enter as a factor.
Some people, usually of slender education, refer
to a life-sized portrait when they really mean
full length, the idea of life-size to them evidently
meaning all the life from head to foot. But the
proper idea of a life-sized portrait is one in which
the head is the same size as the original. The
size of the average head is about 8^ or 8| inches
from chin to top of head, not allowing in this the
hair. A woman's head is, of course, slightly
smaller, perhaps *1\ or 7| inches, measured in
the same way. It does not follow, however,
that we shall convey a proper effect if we make
the head the measurement size on the enlarge-
ment, because first of all we lose the effect of
binocular vision on a solid object, and second
we must have the head in relation to its picture
space. Just as placing a head too low or too
high will convey the idea of shortness of stature
or the reverse, so placing a "life-size" head on a
small sheet of paper will give an impression of
something bigger than life size, and an unpleasant
impression at that. Probably the smallest size
on which a life-size head would look well is
24 x 20, and we think we should on this size
reduce the size of head a little so as to retain
the effect of full-size without any risk of unpleas-
ing effect. We think, too, that in these large
sizes the definition obtained with modern lenses,
or in the center of the field with the older Petzval
portrait lenses, is too biting, and that better and
more pleasing effects are to be got if some method
is employed for softening the definition. This
may be done in a variety of ways, the simplest
of which perhaps are the racking in and out of
the enlarger lens during exposure, or the placing
of a piece of ordinary glass over the lens when
exposing, so that the perfection of lens correction
is slightly disturbed.

Recovering Silver. Report by Ansco Research
Laboratory
With reference to the recovery of silver from
exhausted hypo baths, we recommend the
following as a practical method easily carried
out in any studio:

1. Add enough acid to the old hypo bath
(muriatic or sulphuric) to make it sour — about
one pound to the gallon — and stir well.

2. Then dissolve sulphuret potassium in
water — about one pound to the gallon — and
add this to the sour waste solution. Add until
no further precipitation takes place. Stir well
and allow it to settle for from three to five hours.

3. Collect the precipitate on a muslin filter
and ship to the refiners in a tight package.

The above method is subject to one minor
objection. In these days practically all hypo
baths contain alum, and therefore the pre-
cipitated silver sludge or mud is not an absolutely
pure silver sulphide, but the loss is so small
that it is not really worth bothering about.

With reference to recovering silver by deposi-
tion upon brass or copper: We have tried this
in the laboratory, using copper gauze, but the
results obtained are not very satisfactory. The
deposition of silver is very slow, a complete
quantitative precipitation of the silver not being
possible in a reasonable time.

We have worked in the laboratory upon
several methods for the recovery of silver from
hypo baths, and the one which has given the
best results is that involving the use of a satur-
ated solution of sodium sulphide. The method is
perhaps a little more troublesome than the use of
sulphuret potassium, but the resulting silver is
in a very pure state. The method used is as
follows:

If the "hypo" bath contains alum, a small
amount of ammonium hydroxide is added until a
faint odor of ammonia is noted. The solution is
stirred well and the aluminum hydroxide which
precipitates out is allowed to settle, filtered and
washed with hot water, the washings being
added to the major portion of the filtrate. This
step is necessary only when alum is used in the
hypo bath, otherwise the direct precipitation of
the silver with sodium sulphide, which is alkaline,
would also bring down the aluminum hydroxide
and the silver sludge would not be pure.

After the removal of the aluminum hydroxide,
sodium sulphide in a saturated solution is added
until the silver is completely precipitated as
silver sulphide. This may be easily found out by
allowing the sludge to settle, leaving the liquid
clear, and then running in some additional
sodium sulphide solution. If more sludge is
formed, the silver has not been completely
precipitated and more precipitating solution is
added. The silver sludge is allowed to settle
and the supernatant liquid poured out. The
sludge is then washed with cold water by decan-
tation. In this form the silver is sent to the
smelter in a tight package.

I am giving you this second method as a
matter of record, and also because you may find
some photographers who would be willing to
take the little extra trouble.

THE WORKROOM

247

Creases in Backgrounds

Even when quite new some backgrounds will
begin to crease, which means retouching the
creases out in each negative as well as spoiling
the look of the ground itself. These creases are
caused by the rollers being too small and by the
ground not being sufficiently well nailed on, too
few tacks causing it to sag and stretch in places,
and thus when rolled up it forms creases.

It is, therefore, desirable, before hanging the
background up, to examine both roller and nails,
for prevention is far better than cure.

Many ways have been suggested for trying to
remove these creases, the principal drawback
to them being that the back of the ground has
to be damped, which frequently causes marks
on the ground when dry. My own method avoids
this, and is fairly successful when carefully
carried out. It is as follows:

Take the background down overnight, and
roll up very carefully and as tightly as possible
by hand, carefully smoothing out each crease,
tie up tightly, and leave until morning. Buy a
yard of best unbleached calico and tear into long
narrow strips, just wide enough to overlap the
crease a little. Buy also a tube of good rubber
solution (not the cheap and nasty chemical stuff
which is of very little good).

Then, in the morning, carefully unroll the
background on to its bottom roller, and lay down
quite straight and smooth upon the studio floor,
right side down. Next carefully smear one of the
calico strips with the rubber solution and leave
until quite tacky. Be careful that the whole of
the strip (one side only) is thoroughly covered
with the solution, especially edges and corners.
When nice and tacky, unroll a few feet of the
background, very carefully lay the strip quite
smoothly and evenly over one of the creases, and
press in tight contact with a roller squeegee.
Dust over a little French chalk, and wind care-
fully and tightly up on to the top roller. Repeat
this process until each crease is covered with a
calico strip and lies quite smooth and flat with the
rest of the ground.

The advantage of the rubber solution is that
it dries almost immediately, and so does not
cause patches on the face of the background.
It is essential to roll the background up tightly
overnight, so that the creases may flatten out
somewhat before the strips are put on. It is
also essential that only thin, stiff material be
used, or it will cause a fresh set of marks on the
background.

Make it a rule never to roll up grounds in a
hurry and without looking at what you are
doing, for they are very easily damaged, espec-
ially if the string or cord runs on crookedly when
letting them down. Should the face of the
ground be marked by attempts to damp the back
and so get rid of the creases, carefully touch it up
with a brush and some color until the marks do
not show, flatted oil for oil grounds, and lamp-
black, whiting, and size for distemper ones,
adding ochre if of a warm brown tone.

Some time ago, in a large studio, I saw a
method in use which struck me as being very good.
Each ground was bound at the edges, eyeleted,
and strained on to one of those bamboo frames

used for the white sheets used at lantern lectures.
The frame had feet about a foot long, and these
fitted into a stand on casters. There was about
a foot and a half of the background left loose
at the bottom to hide the stand. This I should
think a very good way where there is plenty of
room. The operator and his assistant simply
lift out one ground, put it against the wall at
the back, and drop in the fresh one needed. This,
of course, needs room, but the grounds looked
very nice.

With regard to my repairing method, I should
fancy there might be a better material than
calico, but so far I've not dropped upon it. It
needs to be fairly stiff, and also quite thin.
Perhaps some reader would know of something
better. Tracing linen is fairly good, but inclined
to wear out. — G. E. H. G., in British Journal of
Photography.

For Retouchers

Retouching is every whit as important as
operating, and the retoucher can make or mar
even the best operator's work. The reason so
much retouching is so poor is because the
retoucher takes the negative and sits straight
down and starts off at it, without even one glance
at the negative as a whole. This, I think, is
most important, as it is very necessary to get a
clear idea in one's mind of the style of lighting,
and where the various high-lights ought to come.
I say "ought" because lighting is a difficult and
deceptive thing, and depends also upon the
accuracy of the exposure, so that one often finds
that the high-lights do not come where they
should, and, therefore, it is the retoucher's
duty very often to put them there.

The face is not flat, and, therefore, the high-
lights will get gradually softer in strength.
There is always, or should be, one leading high-
light most often on the forehead, cheek-bone, or
nose, and the others, like the notes in a scale of
music, should gradually descend in key with this
one. Also the high-light itself is not a flat, even
patch, but has a high-light within itself. It is
this that makes the high-light look round, and
the want of it that makes work look flat, even
poor and stodgy.

This little light within a light is not always in
the same place, nor in the middle, but will vary
according to the shape of the whole, and it is in
order to see what this shape is that the retoucher
should take a general all-over look at the negative

Noses also seem with many to be a particular
difficulty, and, indeed, they are, I think that
the golden rule is to do as little to the nose as
possible, for its shape is so easily altered. The
two things that seem to have most effect on the
nose are the high-light on the top of it and the
corresponding dark shadow at the side, and while
many retouchers pay a lot of attention to this
high-light, the shadow is left to take care of itself.

The high-light should first be done, bearing
in mind that the top of the nose is not flat, but
round, and seeing that the high-light is the
faintest shade stronger on the most strongly lit
side of the face. Then very gently, almost
tenderly, round off this into the shadow, and
lighten the shadow just enough to make cheek
and nose look round and soft.

248

THE WORKROOM

Both the end of the nose and also the wings
also need an extra touch or two, for the tip of
the nose gets a little more light, and if the wing
of the nose is neglected it makes it look flat, and
as it often comes just in the long shadow it often
loses this bit of light.

In the negatives of male sitters, too, there is
frequently a dark shadow along the edge of the
hair, which, unless it is softened makes it look
rather like a wig.

No two chins ever take quite the same lighting,
and it is the lighting that gives the chin char-
acter; therefore, take care to preserve, though
at the same time to clean up this high-light,
which will generally be .softer than those higher
up on the face.

The strongest high-light gives the key to the
whole face, and where half-tone needs putting
in, it should be done so as to balance with these
high-lights.

Many retouchers get into the habit of sticking
to one number of lead — often No. 3; but this is a
mistake. With big heads, such as 1-1 or 12 x 10,
the work done by a softer lead — say No. 2, or
even 1 — is much more suitable and effective, as
well as being quicker. It, of course, calls for
more skill and care in using, but the results repay
the extra care. One naturally does not look for
the fine work of a CdV head on a 1-1 one, yet
it is put on by thoughtless retouchers, who also
growl at the time "big heads" take. Working
with a softer lead is also good practice and fosters
delicacy of touch, and with freckled subjects
give decidedly better results.

It is always desirable, where possible, for the
retoucher to have a look at the proofs before
the negatives are finally printed from, as, even
with the best of retouchers, little trifles will and
do escape notice, particularly if the retoucher
should be called away, as is often the case with
the receptionist retoucher. Roundness is always
the secret of good lighting, and in ensuring this
the retoucher has a large part.

With very strongly lighted heads the eyes are
apt not to get enough light on them, so it is
necessary .slightly to strengthen the whites and
high-lights of the eyes, but only just enough to
make them correspond with the rest of the light-
ing; and there is also the little shadow under the
nose, on the upper lip, that often gets little or
no attention. Do not take it out, but see that
it is not too heavy but in keeping with the rest
of the face. All these little things help much
toward really good results. — G. E. H. G., in
British Journal of Photography.

Detecting Pinholes in Camera Bellows

When a camera, either of the field or studio
pattern, "springs a leak" most assistants I find
start to locate the trouble by turning back the
focussing screen, burying the head in the focuss-
ing cloth, and endeavoring to discover where
light is getting into the camera. But a much
easier method is to work the other way about,
that is to put an electric light bulb inside the
camera and then, in a dark-room, examine the
outside of the apparatus for any escaping ray
of light. The lamp can be conveniently fixed

in the camera by cutting a piece of cardboard
to slide into the grooves for the dark-slide and
cutting in this a slit through which a plug to fit
an ordinary electric lamp holder can be passed.
This excludes practically the whole of the light,
but the focussing cloth can be thrown over as
well to make certain of the complete exclusion
of light from the room. If this is done the
slightest escape of light from pinholes in the
bellows or from the lens panels can be very
quickly detected. Where electric supply is not
available the same method can be carried out
by using one of the small pocket electric battery
lamps. — E. S. Gwyer, in British Journal of
Photography.

Magnifiers

Achromatic lenses used as magnifiers allow a
larger stop to be used, and still good definition
obtained, than do single lenses. But when the
magnifier is one of long focus, as is usually the
case, the gain in using an achromatized lens is
slight.

It is just as important to shade the magnifier
as it is to shade the camera lens. — -Photography.

PATENT NEWJ

Copies of any patent can be obtained from the
Commissioner of Patents, Washington, D. C.
Price, five cents each.

Camera. A. Kiss. 1218273.

Camera. E. E. Underwood & F. H. Reynolds.

1218135
Finder for' Cameras. M. J. Vinik. 1218342.
Apparatus for Cleaning M. P. Films. J. P.

Vose & W. J. Owens. 1218137.
X-ray Tube. F. A. Wiggin. 1218026.
Cinematographic Apparatus. W. Bauersfeld.

1219221.
View Finder. G. W. Miller. 1219129.
Photometer. C. Laing. 1218946.
M. P. Machine. W. H. & F. A. Selby. 1219403.
Stereopticon. C. C. Clement. 1218928.
Camera. C. Boenmann. 1219801.
Camera Device. T. R. Schoenleber. 1219672.
Film Cleaning Apparatus. C. de Moos. 1219712.
Film Pack. A. A. Ruttan & C. H. Hutchings.

1219588.
Photographically Sensitized Medium. A. E.

Jacobson. 1219739.
Plate Holder for X-ray Exposures. H. G.

Leisenring. 1219965.
Camera Device. N. B. Conway. 1220957.
Cinematograph Apparatus and Film. S. Coca-

nari. 1220195.
Flash Light and Camera Shutter Synchronizer.

C. A. Ellsworth. 1220325.
Photograph Mount. E. N. Lodge. 1220354.

The

PHOTO GRARPfm

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NEW SERIES WILSON'S PHOTOGRAPHIC MAGAZINE, FOUNDED 1864

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CAMERA BUILDING .NEW YORK
$1.50 A YEAR - JUNE., 1917 - 15 CT5. A COPY

In 1909 it was stated of

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"Each grade of Cyko has more latitude,
plasticity, chromatic rendition and proper
scale of gradation than any other paper.
Its scope is unlimited"

and yet its scope has been enlarged
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CYKO is the single and universal expression
of photography today

Ansco Company

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By the bachrach studios

BALTIMORE. WASHINGTON
PHILADELPHIA, NEW YORK
BOSTON

PHOTOGRAPHIC
•JOURNAL-
'S'AMERICA -

VOLUME LIV

JUNE, 1917

NUMBER 6

COMMERCIAL PHOTOGRAPHY1

By T. A. SCOTTON

THE commercial photographer — and
by this I mean the man who deals
with every class of professional
photography outside pure portraiture —
must be ready at very short notice to go
anywhere and photograph anything and
at any time. This can easily be proved
by looking at the various publications
containing commercial photographs; the
numerous branches are so varied that it
would be impossible in one paper to deal
with the subject in its entirety, and as
my work lies among engineering and
railway work, I must confine myself more
or less to this part of the subject.

With respect to apparatus, the im-
provement in speed, fineness of grain,
and latitude of dry plates, in conjunction
with the fine quality of modern lenses,
enables the worker to do most outdoor
work with a comparatively small camera
and good enlarging apparatus, and this
has far-reaching effect on deciding the

1 A paper read before the Photograph^e-€t5n:
vention of Photographers of Great BritfykfaW^'1

£ JUNO

A/.

size of camera to use. The whole-plate
camera, with plenty of rising and swing
front and back, is perhaps as useful a size
as any for the professional photographer,
but there is no doubt that much useful
work can and is being done by enlarging
from quarter-plate and smaller sizes. Of
course, we must except groups containing
a large number of figures, for which I con-
sider that direct work will always hold its
own, as such prints are examined more
closely than landscapes.

The choice of a camera is a matter of
individual taste. The commercial pho-
tographer must possess a generous meas-
ure of capabilities for his abundant
difficulties — a master craftsman whose
work generally begins where his fellows
are content to make an end. Compare
the work of a portrait photographer with
that of the commercial photographer. In
portraiture working conditions are fairly
constant, same lens, same speed of plates,
similar lighting, year in and year out.
On-^the other hand, the commercial
{Mf^^^supher's conditions are ever vary-

11917

(249)

250

COMMERCIAL PHOTOGRAPHY

ing, and there must be constantly new
ideas to fit new requirements — landscape,
machinery (in and outdoor), copying
paintings, linework, interiors, architect-
ure, furniture, flashlight work, etc. Con-
sider the difficulties involved by this
variety. In plates he must be familiar
with and use slow and fast ordinary
brands, process, panchromatic, isochro-
matic, and lantern; used with or without
screens, blue, red, green, or yellow, as
required. His lenses must be from very
wide angle to the telephoto variety.

With regard to plates, the excellence of
manufacture is now so uniform that there
is very little in the matter of choice, but
I will say this: always use backed plates.
I have done so for many years, and the
extra outlay is more than compensated
for by the improvement in the negatives,
absence of halation, etc. When changing
plates away from home I carry a folding
ruby lamp (this takes up very little
space), and change in my bed room at
dark. Previous to photographing a loco-
motive or any other piece of machinery,
if the best result is required the whole of
it should be painted in a slate gray color,
and the color mixed so as to dry abso-
lutely "flat" — that is, without any gloss.
If the parts underneath the machine in
shadow are required to be shown, they
should be painted a lighter shade, and, of
course, the deeper the shadow the lighter
they should be painted ; in extreme cases
even white. This is required under a
locomotive. Bright parts may be painted
in a similar manner, but by a variation in
color, so as to show sufficient contrast.
Care must be taken also that oil does not
run out of the bearings, as this leaves
dark and glossy marks, which are very
difficult to retouch out. Whenever pos-
sible, machines should be photographed
indoors; if done in the open there is a
strong top light, which causes deep
shadows. It is advisable to use a rough
sort of light background if possible, and
afterward block out the whole of the
parts not required.

I often see queries in the photographic
papers asking for advice respecting the
blocking out of backgrounds in negatives,
and the general replies appear to be use
some form of levigated oxide of iron,
either grinding from a cake or using from

a bottle. My experience of such mixtures
is that they either chip off or, when there
is any damp about, soften and stick to
the printing paper. I will now give you
the method which I have been using for
over thirty years. The foundation is
stick Chinese ink, but this must not be
used alone. Procure a piece of smooth
slate, and place thereon, say, half a tea-
spoonful of water; commence grinding
the Chinese ink in this, and as the grind-
ing proceeds add a little orange chrome
(chromate of lead) ; the right amount can
only be found by experience, but to the
above quantity of water a piece the size
of a pea will be about right. As soon as
the mixture shows opaque by trans-
mitted light, stop grinding, and it is
ready for work; if too thick for a pen
dilute a little of it with water; it will
flow well from a drawing-pen, and such
article I always use for going round the
outline of locomotives, etc., using, of
course, set square or French curves as
necessary. This mixture will not chip
nor split the varnish. It is quite unaf-
fected by damp, quite opaque, flows from
pen easily, and is reliable in every way.

Exposures should always be ample.
An under-exposed plate will never yield
that soft, harmonious result (however
helped by skilful development) which is
so necessary in successful photographs of
machinery. I keep a record of every
exposure I make — subject, light, time,
and date. This is not only very useful
at the time of developing, so as to have a
clear idea of the circumstances surround-
ing the exposure, but at other times when
one has a similar and perhaps very diffi-
cult subject to deal with. My record
extends for twenty years.

It is useless to attempt any very
extended range of work unless well
equipped with lenses of varying focal
lengths, but it is not necessary that they
should be of a very expensive type. The
telephoto lens, too, is a very useful
addition where enlarged portions of
distant objects are required. One im-
portant point I should like to draw
attention to, which is often overlooked;
this is the effect of the focal length of
the lens upon the perspective of the pict-
ure. A good many objects have to be
dealt with at close quarters, and if a

COMMERCIAL PHOTOGRAPHY

251

short-focus lens is used objects are badly
distorted. In catalogue work this is a
serious disadvantage; hence it is neces-
sary, if possible, to employ a lens which
allows of a sufficiently distant standpoint
being taken to avoid the violent per-
spective. It is desirable that one should
use a lens of at least double the focal
length of that used for landscape work,
say not less than 20-inch focus, bearing
in mind that it is the man behind the
lens, and not the lens, that counts.

My chief sizes of cameras are 8| in. x
6\ in., 18 in. x 16 in., and 26 in. x 21 in.,
and I frequently have to make enlarge-
ments from each of these sizes. For
many years I used daylight illumination,
consisting of a mirror fixed at an angle of
45 degrees outside the enlarging room
window. This method proving unsatis-
factory owing to the continual changing
of the light and foggy or dull weather, I
cast about for a successful method of
artificial illumination. A space 8 ft. x
4 ft. outside the room was boarded up
and roofed in, and two enclosed arc
lamps with parabolic reflectors fitted up,
with the light shining on a board painted
dead white. The light is in turn re-
flected from the board through the nega-
tive; distance of board from negative,
2 ft. This gives a very even illumination,
no condenser to bother with, and, using a
quick lens, 24 in. x 20 in. enlargements
from whole-plate negatives only require
exposures varying from fifteen seconds to
one minute, according to the density of
the negative. The opening in the en-
larging room should be cut large enough
to take the largest size camera (presum-
ing an enlarging apparatus is not avail-
able), and a sliding shutter with an open-
ing cut the size of each sized negative in
each shutter, changing the shutters as
required. A board slung from wood rails
suspended from the roof, or a similar
arrangement on wheels running on rails
let into the floor, makes a satisfactory
way of supporting the bromide paper,
and the Amidol developer will take a lot
of beating for uniform work, especially
if the enlargements are to be sulphide
toned .

I recently had a good number of brass
castings and details to photograph, and
as they were heavy some means of plac-

ing them in position other than hanging
on the wall had to be adopted. The
method of pointing the camera toward
the ground is too well known to need
description, but as the finished photo-
graphs had to show a clear margin the
following method was adopted to ensure
getting the articles in their proper posi-
tion in front of the lens: A sheet of buff
cartridge paper was laid on the floor for
the background, and upon this was
placed four laths tacked together to make
a rough frame, which by calculation just
came into the dimensions required. It
is then a simple matter to place the
articles in position inside the frame,
afterward removing this away; and by
ruling pencil lines on the focussing screen
half an inch apart in both directions, it
was the easiest thing possible to see by
these lines that the numbered tickets,
titles, and the articles themselves were
all square with one another. This
method is necessary, as by the curvature
of the lens any distortion toward the
edges is counteracted by moving the
articles until they came into line with
the marks on the focussing screen. The
articles were painted in flat gray color.

Cut glass should always be photo-
graphed with the light coming through
from the back at an angle, and the lens
carefully shaded, so that no direct light
enters it.

To many photographers flashlight
photography is a bugbear, some shirk it
altogether, others do the best they can
without proper knowledge, and some
understand the principles involved, and
make a success nearly every time. I am
afraid that in many cases little or no care
or forethought is exercised in preparing
for this special and difficult class of work.

Flashlight photography is feverish
work at its best, and the apparatus and
materials used should be as perfect as can
be secured; nor is that all that is neces-
sary: the photographer must thoroughly
master the method of using them, and
this can only be done by careful practice
and rehearsal under what may be con-
sidered average conditions.

The principal points to be considered
are the maximum aperture of lens at
which sufficient depth can be obtained;
secondly, the position of the lamp (par-

252

COMMERCIAL PHOTOGRAPHY

ticularly as regards height) ; and, thirdly
the quantity of powder necessary prop-
erly to illuminate the most distant part
of the room or group, the distance be-
tween the light and figures being an
important factor. The lamp should be
at least 10 ft. from the floor for a large
group, and well to one side of the camera.
Great care must, of course, be taken to
prevent any direct rays from the flash
reaching the lens. It must be remem-
bered that when using a flash lamp we
are dealing with a near source of light,
and that the falling off in illuminating
power is very great. The amount of
powder to use can only be settled by
experiment, but in the case of large work
one has to think in ounces, and not in
drams or grains, which would suffice for a
single figure. It is impossible to be too
cautious in the handling of explosive
flash mixtures, and it is wise to put only
enough for one exposure in each bottle.
Flash powders must always be used
upon an open tray.

The enlarging room makes a capital
place to make lantern slides by reduction.
Place the negative in the same place as
was done for enlarging, and point the
lens and camera toward the negative.
The light from the enclosed arc lamps
gives a very soft and suitable illumina-
tion. The method of introducing clouds
is as follows : Having finished and dried
the slide, it is placed in the dark-slide
and both shutters drawn; the cloud
negative is then put in the same position
as was previously occupied by the nega-
tive. Now by raising or lowering the
rising front it may at once be seen which
portion of cloud suits the subject best.
The dark-slide is now taken into the
dark-room and a lantern plate inserted,
leaving the lantern slide in front of it.
The plate is then exposed, the slide itself
acting as a shield to protect the plate
from receiving any exposure where it is
not required. The plate is then devel-
oped and dried and put into correct
register with the picture, and the two
bound up together.

The storage of negatives and method
of registering are an important point to
be considered. I have one cupboard
which, together with its contents, weighs

10 tons, and, of course, there are some
thousands of negatives to make such a
huge weight. The shelves have strips
of wood f in. thick sprigged on, leaving
yq in. between to contain two nega-
tives. On the front of each shelf a strip
of paper is pasted bearing the numbers,
which have already been placed on the
corner of each negative in waterproof
Indian ink. Knowing pretty well the
sizes of negatives which are in greatest
demand, the numbers are apportioned in
a manner somewhat as follows: 8 J in. x
6| in., 1 to 10,000; 10 in. x 8 in., 10,001
to 12,000; 15 in. x 12 in., 12,001 to
15,000; 1,8 in. x 16 in., 15,001 to 20,000.
A register containing these numbers is
prepared, and the titles, together with
size, date photographed, etc., are inserted
as the work proceeds.

I have also an index book for each size,
and the negatives are entered under the
letter which is most suitable. In case of
landscapes the name of place; for in-
stance, a view of Perth would be entered
under "P," engines under "E," carriages
under "C," and so on. By this means
any negative can be found in a very few
minutes, and after a good many years'
use of this system I find it is quite
satisfactory. It is essential that some
means should be found to enable copying
through the camera of documents, etc.,
to be done expeditiously, and as day-
light is so variable I had two enclosed
arc lamps, with parabolic reflectors, in-
stalled, and this part of the work can
be done better, with more certainty, and
at any part of the day.

It is highly desirable that people pur-
chasing furniture should see the article
themselves, but where this cannot be
done the aid of photography is invalu-
able when the work is properly done.
Until recently it was not possible to give
anything but an indifferent representa-
tion of objects having rich coloring, but
the Wratten panchromatic plate, which
is sensitive to all colors, has remedied
this, and the booklet, The Modern Method
of Photographing Furniture, published by
Eastman Kodak Co., should be in the
hands of everyone interested in this sub-
ject, and also the one entitled The Art
and Practice of Photographing Paintings

ENLARGEMENTS ON CONCAVE OR FLAT-
GLASS SURFACES

By "CHEMIST"

THE production of enlargements
upon concave glass surfaces with-
out the aid of the transfer process
is often desired by many photographers
because there is a demand for this class
of photograph. It is advisable to pro-
cure oval glass plates, the concavity of
which is not too deep, for two reasons:
first, it is somewhat difficult to secure an
even focus; and, second, the sensitive
surface must not be too thick in the
center of the plate.

There is a method by which these
enlargements may be produced very sat-
isfactorily by means of a collodion emul-
sion, which must be prepared with care,
and kept at all times away from actinic
light. A number of plates may be pre-
pared, dried, and stored for use, and to be
successful by this method great care must
be exercised in cleaning the plates in the
first instance.

The number of plates desired, whether
flat or concave, should be procured and
cleaned in a strong, hot solution of com-
mon washing soda. With a mop made by
tying a piece of clean rag on the end of a
strip of wood, well rub the plates over
with this soda solution, rinse in clean
water, then place them into a bath of
muriatic acid, 3 ounces; water, 60 ounces.
After soaking in this acid solution until
the plates are cleaned, they must be
rinsed singly in running water from a
faucet, and the surface upon which the
enlargement is to be made must be
flowed over with the following prepara-
tion: albumen of one fresh egg, and
water, 40 ounces; strong liquid ammonia,
1 dram. This must be prepared be-
forehand, and well shaken in a bottle of
the capacity of 80 ounces and filtered
through two thicknesses of well-washed
cheese-cloth. In pouring this mixture
over the plate, be very careful not to
produce any air-bubbles. This may be
accomplished by allowing the lower edge
of the plate to touch the side of the glass
graduate from which the albumen solu-
tion is being poured. The plates should

now be placed in a clean rack to dry.
When prepared in this manner the plates
will keep well for two months in a clean
and dry grooved box.

The next solution that will be required
will be the sensitive emulsion, which is
made up as follows:

Collodion Emulsion
Pyroxylene (gun cotton)
Sulphuric ether (sp. gr. 0.720)
Pure alcohol (sp. gr. 0.820) .

Castile soap

Bromide of ammonium .
Bromide of cadmium

80 grains
8 ounces
5 ounces
1 dram
56 grains
56 grains

Place the pyroxylene in a clean bottle
with 3 ounces of alcohol, shake well,
then add the ether. Shake until all the
pyroxylene is dissolved. Add the two
bromides to the remaining 2 ounces of
alcohol, and when dissolved pour into the
ether mixture, shake well, and add the
castile soap cut into very thin shreds.

As soon as this mixture is in a state of
solution it is ready to be sensitized, the
sensitizing solution being prepared as
follows:

Nitrate of silver
Pure alcohol
Distilled water

250 grains
. 2\ ounces
. 2 drams

The nitrate of silver must be powdered
and placed in a glass flask and covered
with 2 ounces of alcohol and 2 drams
of water. Heat must now be applied to
the flask, and a gentle shaking of which
will complete the solution of the nitrate
of silver.

The following operations must be
carried on in the dark-room: Pour a
little of the hot nitrate solution into the
ether mixture, cork the bottle quickly
and shake well; then little by little add
the remainder of the hot nitrate solution,
shaking well between each addition;
rinse out the flask with the remaining
half-ounce of alcohol, adding this also to
the mixture, shake it vigorously, and
allow it to stand for about twelve hours
to ripen. At the end of this period there
must be added another 30 grains each

(253)

254 ENLARGEMENTS ON CONCAVE OR FLAT-GLASS SURFACES

of bromide of ammonium and cadmium,
dissolved in half an ounce of alcohol ; the
mixture must now be shaken well and
poured out into a small, clean porcelain
tray to set.

As soon as the ether and alcohol have
evaporated the remaining emulsion must
be cut into pieces with a bone knife and
allowed to dry (all these operations must
be conducted away from actinic light).
When the shreds are dry they must be
washed by tying them in a folding of
cheese-cloth and suspending them in a
stoneware crock or jar filled with clean
water. This must be changed several
times, so as to wash out all the salts of
decomposition. The shreds may now be
placed upon a clean blotter to take up all
the surplus moisture, then placed in a
darkened closet to dry. When dry the
fluid emulsion can be made up by dissolv-
ing 24 grains of the dried shreds in 1
ounce of solvent made of equal parts of
alcohol and sulphuric ether, and filtered
through a loose tuft of absorbent cotton
into a suitable, wide-mouthed, amber-
colored bottle. The emulsion is now
ready for use.

To prepare the plates take one of them
and pour upon the albumenized surface
some of the emulsion, allow it to flow all
over the surface, then drain off the excess
of the emulsion into the stock bottle,
wave the plate gently in the air, then
place aside to dry. Treat all the plates
in the same manner, and as soon as dry
they are ready for use.

Having the enlarging apparatus ready,
place in the negative and focus upon the
screen to the size required, place the
sensitized plate in position, and expose.

Black Spots on Platinum Prints. It
will sometimes happen, either through
overlooking a pinhole on the negative
that ought to have been stopped up, or
through some chemical dust falling on
the print, that an otherwise perfect plati-
num print is defaced by one or two
very small black spots. Those who are
troubled in this way may like to know
that it is not difficult to remove these with
the point of a knife, or other suitable in-
strument. They ought, of course, to be
avoided in the first place, but if they are
present all that is to be done is to pick
them out boldly and bodily. After the

From a cabinet size head to 8x10 the
exposure, with a good light and a recti-
linear lens of about 13 inches focus and
stop //16, should be about one minute.
Proceed to develop as follows, these
solutions being all made up previously:

1. Pyrogallic acid . . 192 grains
Alcohol .... 2 ounces

2. Bromide of potassium 20 grains
Water 2 ounces

3. Carbonate of ammonia 6 grains
Water 3 ounces

To develop take 10 minims of No. 1, 4
minim of No. 2, and 1 dram of No. 3;
take the exposed plate, rinse it carefully
under the faucet, drain the plate slightly;
then pour the developer over the plate,
not in a tray, but at one corner or outer
edge by the thumb and finger of the left
hand; then rock the developer over the
plate to and fro until the image makes its
appearance; then add 8 minims of No. 2
and 2 drams of No. 3; mix this with
the developer on the plate, and continue
development until the image is well out;
throw off the developer, wash the plate
gently under the faucet, and fix in a
solution of hyposulphite of soda, 2
ounces; water, 6 ounces. As soon as
fixed wash in a gentle stream of water
for half a minute, then place in a rack
to dry. When dry the plate should be
varnished with any good clear photo-
graphic varnish and dried; the picture
will present a brown-black when backed
up with either a white or pink backing,
and may be colored with thinned-down
oil colors, so that they are of a semi-
transparent character. The concave oval
glass forms a complete tray in itself dur-
ing the developing process.

first few attempts it will be found easy to
do this so that the mark left is quite
unnoticeable. A penknife should be kept
for the purpose, and should be ground
down on an oilstone till it is more pointed
than it is at first, and the point should
then be made as sharp as possible. A
convenient tool for the purpose may also
be made by putting a very fine cutting
edge on a steel pen by means of an oil-
stone, and using this in the ordinary pen-
holder. The point is inserted under the
black spot, and this is almost "flicked"
out of the print.

FIELD BOTANY AND THE CAMERA

By R. W. SHUFELDT, M.D.

BOTANY as a science may be
divided into a number of branches
or departments, the study of each
and every one of which is highly
important to man, and all are worthy
of such study from the view-point of
science for its own sake. The photo-
graphic camera and the microscope
are the two most important instru-
ments employed by the botanist in
his researches, and they are now being
made in nearly every quarter of the
globe. With the minute structure of
plants as investigated with the micro-
scope the present article has nothing
to do; it is a large subject of itself.
Nor will the study of the classification
of the trees, plants, and other growths
constituting the vegetable kingdom be
touched upon here, for this is another
very large subject, as is the study of
fossil plants or paleobotany. Then we
have the geographical distribution of
plants, a subject fully as extensive
as a number of those already enumer-
ated, and there still remain other
branches of botanical research which
need not even be mentioned here.

What the photographic camera can
accomplish in the field, either for the
advancement of the science of botany
or to aid the private researcher in that
most fascinating field, is quite another
question, and it is to this that this
article will be in the main devoted.
Apart from these ends, however, photo-
graphs of wild flowers, taken in their
natural habitats, are, if secured as they
should be, beautiful subjects, even
when considered from the pictorial
stand-point alone. When scientifically
taken, this beauty is rarely destroyed,
while the photographs of this charac-
ter constitute substantial contributions
to science, and, in a way, to art. Fin-
ally, many photographs of flowers are
made in nature, which, while very
interesting and truly beautiful in them-
selves, are, for any purpose that a
botanist might put them to, utterly
useless.

Before giving any practical working
suggestions for the use of the photog-
rapher of wild flowers in nature, I
would say that one is far more apt to
succeed in this line of work if a definite
object controls and inspires him in
every attempt he makes to secure a
good negative of the botanical subjects
he selects. This, in addition to the
splendid exercise the outdoor work
affords, and the mental health gained
through being next to nature so much
of his time, will crown his efforts as a
whole with success in the outcome.

Perhaps the most far-reaching object
the photographer has as his aim in this
line is to secure good negatives of all
the flowering plants in the region in
which he resides, and this would be a
very worthy end to have in view. It
might require the better part of a life-
time to complete such a project, and,
instead of undertaking so ambitious a
scheme, he could confine himself to
one, two, or a few groups of wild
flowers, as for example to the lily
family (Liliacece), or to the violet
family (Violacece), or to the roses, or
to the very numerous pulse family
(Le gummosa) , which last includes all
the "pea-blossom" plants, such as the
wild indigoes, the clovers, vetches,
magentas, lupines, peas and beans, and
many others. But have at least an
object in your work — that's the main
thing — and shun the album idea, a
volume of which, only too often half-
filled, is set aside at the end of a sum-
mer or two to catch the dust on some
top shelf in the library.

As to an outfit, I may say that" that
largely depends upon the tastes and
the length of the purse of the photog-
rapher. My friends have often won-
dered at the fact of my having secured
such remarkable photographs of all
sorts of living creatures, flowers, and
the like with the simple outfit em-
ployed. Something like five or six
hundred of my animal and plant pic-
tures alone have been half-toned and

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256

FIELD BOTANY AND THE CAMERA

published, and many of them have
won prizes in domestic and foreign
exhibits; yet I have used the same
old lens for the last forty years of my
work. I have taken everything with it,
indoors and out, all the way from a
nude to a tadpole, and in every kind
of light imaginable. It is a Voigt-
lander No. 1, which was purchased for
me in Berlin, and I never expect to use
any other. With it I use a simple
" Triplex" shutter, which is quick
enough for my class of work.

As to the camera, I have two: One
is an old-fashioned " Blair Touragraph"
(5 x 8) and the other 8x10 Anthony
and Scovill. The tripod should be one
of the lightest of the forms recently
invented — one that will shut up into
a small compass. Lightness, good
extension, and rigidity are the main
qualities, while the make signifies but
little.

For all ordinary use I employ the
Hammer plate (Red Label) ; and for
many subjects, as yellow flowers, etc.,
it is best to use a slow autochromatic.
Never in my life have I used any of
the hand cameras, but some day I trust
to be able to afford a "Graflex." My
favorite developer is "Rodinal," and I
employ the usual chemicals in develop-
ing, fixing, and intensifying. For the
last eight years I have used only one
kind of paper, that is, "Cyko" (con-
trast: blue label).

It is not so much the tools as it is
to be able to use them, and use them
under all conditions. It is not the gun
altogether that counts in the long
run; it is the man behind it.

I have often been asked why I use
a 5x8 plate. My answer is that
this is the usual size of the illustration
plate in ordinary scientific magazines;
and as all of my pictures are taken
with the view of publishing them, I
find that size most useful, economical,
and satisfactory. In this matter I
have never changed since 1881. As I
have had no experience beyond what
the above outfit has afforded me, it
would be quite useless to go further
into this part of our subject.

Wild flowers, as we know, grow in all
sorts of places and localities. Some are

in the open meadows, others are in the
dense shades of the forest, or in caves,
or up the sides of steep and rocky
cliffs. Again, we find them, as in the
case of pond lilies, growing in the
water, while in the case of some of the
parasitic forms they may grow upon
the limbs of trees, far above the ground.
Thus it will be seen that many of
them will put the photographer to the
test with respect to his nerve and
ingenuity. When the plant is a low-
growing one, as a violet for example,
the use of the tripod is out of the
question; while in other cases one
cannot get one's flower on the ground-
glass, properly focussed, without its
use, and it often requires the greatest
amount of patience to employ it with
advantage.

If perfect flowers and plants are
what you are after, a knowledge of
how to select them can only be gained
through long observation and a study
of the literature on the subject. People
exhibit great differences in acquiring
such knowledge, some acquiring and
using it far more rapidly than others.
As is the case of anything of that kind,
there is no royal road to its attainment.

Now for a few special suggestions,
and first in regard to the day to be
selected for your field work. This will
depend largely upon what your subjects
are to be, for if these are in very shel-
tered situations, an ordinary wind will
not defeat your operations; whereas, if
you intend to photograph those in
unprotected places, never choose a
windy day for your work. It is simply
impossible to give the necessary expos-
ure if a breeze be eternally agitating
the tender petals or leaves.

As to the light, you want all you
can command when your flowers are
growing in shady places; but if they
be out in the full blaze of the sun, I
much prefer a gray day, with not a
breath of air stirring. Then you get
no distracting shadows, and you can
always command beautiful results by
using a small stop and giving a long
exposure.

Next to be considered, and what is
highly important, is the point of view
from which your flower is to be taken.

IY R. W. SHUFELDT, WASHINGTON. D. C.

258

FIELD BOTANY AND THE CAMERA

Often, after long experience in deter-
mining this, one can select the correct
point of view almost immediately, not-
withstanding the many characters
which different types of flowers present.
In ordinary cases, several points are
to be taken into consideration; in any
event, all these should be studied on
the ground-glass prior to making an
exposure. We have to consider the
size, form, and color of the flower, its
leaves and its buds, if there be any,
and finally its surroundings. Some
flowers are best taken en face, while
others will only render good results,
photographically as well as botanically
(scientifically), when taken en profile.
If possible, leaves must exhibit their
upper surfaces, as few as possible
being taken edgewise; and it makes a
wonderful difference whether they have
highly glossy surfaces or are dull and
rough, and so on. Very shiny leaves
taken in a high light will in the result-
ing photograph, of course, produce
white surfaces and exhibit but very
little detail.

Another thing to be closely studied
in making such photographic exposures
is the plant's surroundings. Generally,
I make it a rule to photograph the
plant just as I find it, disturbing noth-
ing that falls within the limits of my
ground-glass on the camera; this
ensures my getting all that actually
affected the plant's development in
nature. As we know, plants are very
sensitive to the light and to the objects
surrounding them, especially if any of
these objects chance to impinge upon
any parts of them. They are also
greatly influenced by the soil and
degree of moisture where they grow.
The photographer should bear all this
in mind, and have his photographic
results reflect the natural plant and

the conditions under which it grew in
every instance.

Backgrounds are to be studied with
the utmost care; some plants are best
with a sky background, others with dark
rock, or with foliage of some character.

Sometimes plants must be taken on
slant-heights — either up hill or down
— and very often we meet with those
that cannot be obtained in either of
these positions, as distortion of one
kind or another ruins the appearance
of the desired plant in the picture.
The use of the tripod is often indi-
spensable, the camera being steadied
by the two front legs, while the third
brings the box into the horizontal
plane, with the ground-glass vertical
to it. Occasionally on a slant-height
the light may be so managed that a
dark background can be secured with-
out the use of artificial means. This
frequently ensures brilliant results.

Vines and similar growths are best
taken by selecting some part, the
most of which lies in the vertical plane,
then using a very small stop, and
giving a long exposure on a gray day.
We are pretty sure to get something
worth the while.

Some flowers, especially those that
appeal to everybody, often make
beautiful pictures when taken en masse.
A field of our common daisies is a good
subject.

Where the background cannot be
gotten rid of, some photographers of
wild flowers resort to the use of a black
cloth background. This rarely appeals
to me, and I only mention it here in
order to make my contribution as
complete as possible. To me, nature
wins over artifice every time, though
there are cases where we have to
resort to the latter, especially where
marked distinctness is demanded.

PRACTICAL PAPERS ON STUDIO WORK AND METHODS

The Assistant, Par Excellence, and What
Makes Him

Two things are absolutely essential to every
successful assistant — common sense and self-
respect; and without these no assistant will ever
rise to any great height. Everyone possesses
them in some measure, and for the rest they must
be cultivated.

One thing I would like to lay emphasis upon,
and that is that you cannot expect your employer
to look after your interests instead of yourself.
If he does take an interest in you, so much the
better; but you have got to either rise or fall
by your own personal efforts, and this, I think,
is what so many assistants forget. The employer
has his own affairs to look after, and you must
look to your own business yourself.

It is your business to make yourself thor-
oughly competent and efficient, and these are
the qualities which will ensure you a good salary,
and the standard of efficiency which you have
to aim at is not your own, but the employer's,
for he it is who pays the salary.

There is one great faculty that spells success
in all businesses alike, whether it be a linen-
draper's or a decorator's, and that is the power
of concentration. It does not matter what task
you are engaged upon, empty your mind of
everything but that, give that task your whole
individual mind, concentrate every thought upon
it, and you will do that thing well.

More than that, you will be able to do it well
always, and whatever you may take up, if you
will make this a habit and always give your
mind to it, to one thing at a time, and do your
level best at it, that will make you thoroughly
proficient.

This habit of giving one's mind to one's work
is a gift possessed by few people, the rest of us
have to cultivate it, to force ourselves to do our
best always, and not to scamp or shirk. The
assistant who can be trusted not to scamp can
be left to work alone, and this is just what the
employer requires, and not to feel that the
minute his back is turned — well — things may go

right, though it is more likely that they will go
wrong.

We each one have to buy our own experience;
no one else's is of very much use to us, and in
all probability we shall have to put up with a
few unpleasant experiences in getting it. Still,
because we chance to get into a nigger-driver's
clutches is no reason why we should abuse all
employers; there's only just one thing to do, and
that is leave and try a fresh place, and it is in
making these changes that one acquires experi-
ence. If you are not comfortable, why, don't
waste your breath abusing everybody, but just
put your shoulder to the wheel and try, try
again.

I suppose that, if questioned, every assistant
now in a good berth could tell of some disagree-
able experience, but these things have to be
swallowed like a dose of evil-tasting medicine,
which ultimately will do good.

I referred to common sense, and that is the
foundation-stone of all good work, and it is only
good work that deserves good money. Com-
mon sense teaches us to think; and work thought-
fully done is the best work. One of the most
frequently uttered excuses for blunders is "I
didn't think." But why didn't you? It doesn't
mean that you have to be a genius in order to
use ordinary everyday common sense, yet
common sense is the greatest money-maker in
the market.

I imagine that you are in the photographic
business because you wanted to be, and that
you didn't get there by chance. That being
so, you ought to be contented. I don't mean
you ought to be a stick-in-the-mud, but that
you ought to be fond of your work.

Whether work is monotonous or not usually
depends on two things — do you care for it, and
whether you are a good workman. If you are
not fond of your work you had better make a
change, and make it quickly; but the better
you can do your work the better you will like
it. If you are feeling dissatisfied, just try and
do the best bit of work you ever did in your life,
and you will at once lose a lot of that feeling,

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260

THE STUDIO

and the harder you work the quicker you will
lose it altogether.

The better you do your work the more full of
interest you will find it, and this will call forth
all the best abilities that are in you. Work is a
fascinating thing, and it is like a perpetual
boxing contest, in which all your skill and powers
are in constant use to overcome difficulties, and
it is just this that gives it its charm.

Granting, then, that you are fond of your work,
which is the first essential to success, what are
some of the other qualities needed? Tact is a
quality often advertised for, but what is it, after
all, but common sense used like oil to smoothe
the running of daily life. And why, then, should
it be so rare? Why not try to cultivate it?

Thoroughness and skill go together, and are
the outcome of giving one's mind to one's work,
and surely work is not worth doing at all if it
is not worth doing well; so then, give your mind
to it and work thoughtfully and well.

Quickness, again, is a thing that can only be
acquired, as a rule, by making a determined
effort to work quickly as well as accurately, but
the power to do so once acquired will be a life-
long blessing, and will well repay your efforts.

Good taste, refinement, and an artistic eye
are all things that may be acquired by study
and observation of good work, and with so many
good illustrated magazines about it is no use
saying that one does not get the chance to see
good work, for there are few places nowadays
that do not boast a reading-room at least. I
believe it is the spirit of grudging one's spare
time for a little extra study or work that keeps
so many assistants down to a dead level. I feel
sure that one has to pay for success, if not in
money, then in time, and if you do not allow
time for study, then you pay for it dearly with a
small salary. Good salaries have to be worked
for, and though some managers, etc., seem to
get a big salary for little work, yet you may be
sure that at some time they have had to work,
and hard, in order to acquire the necessary
experience to qualify them for such a post, and
you also will have to do the same. And the
younger the man who gets such a post, the more
hours of thought and study, you may depend, he
has had to put in. I feel confident that employers,
managers, and assistants in good posts will bear
me oat in this.

Always remember that nothing is really got
without working for it, though it is not the man
in the dirtiesi apron who always does most work.

If you wane a good salary you have got to know,
even if you have no occasion to know. There
may, and probably will, come a time quite
without warning, when you will have to put this
bit of extra knowledge to use, and woe betide
you if you do not know.

Knowledge, I believe, is usually paid for at a
higher rate than work, so that if you are shut up
with a firm who will give you no chance to either
learn or prove what you do know, why, the only
thing is to clear out.

Many quite good assistants keep themselves
out of the class of business they want to get into
just because they do not give enough thought
and care to the form of application they make.
Any descent employer will respect you the more

for asking sensible questions about hours, class
of work, and even prices charged, for this is
oftentimes the best real guide to a stranger as
to the sort of work he will have to tackle, and in
return he expects honest, sensible information
about your qualifications. I firmly believe many
a good berth is lost just through this; and if you
want to get into a good class business, what on
earth is the good of answering advertisements
that obviously come from cheap class business?
Yet it is done every day, and then the applicant
uses words about the things and hours asked of
him in return for an absurd salary.

In the very beginning I mentioned self-
respect, and it is chiefly at this juncture that it
steps in. It is a thing that has to be preserved
at all costs, if you want a decent salary and
respect from others. Many of the men with such
good abilities who work for such low salaries
are those who have let some bad habit master
them — drinking, gambling, or dishonesty, and
thus they are simply forced to work for next to
nothing or else starve; though, at the same time,
they do an immense amount of harm to others
who have to follow on. But they, alas, find that
it is so easy to slide down, but so hard to climb
up again, and so they become the hack workers.
Had they but preserved their self-respect this
would not have happened. You may not like
or be liked by those you have to work with, but
that is no reason why they should not respect
you.

Personally I do not believe that there are very
many employers who really stand in the way of
an assistant's learning and getting on, for what
on earth have they to gain by it? But, alas!
there is a lot of this sort of thing done by one's
fellow assistants, purely through jealousy.
Before you blame your employer, have a talk
with him, and make sure whether or no he is
really the cause of your having to take a back
seat. You ought to know, but, anyway, make
sure, and do him justice.

Some assistants are most frightfully jealous
of one another, and great tact and patience are
required in order to work with them. These are
the sort of assistants who will take great pains
to hinder one from learning even the smallest
detail of how they work, but when it comes to a
pinch they usually find that there is no one ready
to enlighten them, for they make themselves so
disliked. This surely is a very wrong and foolish
attitude, for even the best of photographers
have to go on learning, all their lives through,
and it is chiefly from one another that we do
learn, a bit here and a wrinkle there; it is purely
a matter of give and take.

To be a good assistant, again, one needs a
sound idea of modern commercial methods of
doing business, keeping books, filing letters,
and a hundred and one other little matters.

It may sound a great deal, but in reality
everything one learns makes it easier for one to
learn something else, and so to keep thoroughly
up-to-date and abreast of the times.

Train yourself to remember things (for it can
be done); be systematic and careful, and culti-
vate all your powers of observation, get into
the habit of noticing even tiny things, in other
people, and it will be a great help to you.

THE STUDIO

261

This may sound like quite a catalogue of
virtues, and at first the exercise of some of them
may prove a little difficult, but gradually most
of them will become quite fixed and unconscious
habits, and the result in practice will make you a
first-class assistant. Remember that there is
always room at the top, while the higher you
rise in your profession and the better the work
you do the better the treatment you will receive,
for among the really good class firms they usually
know the right value to set upon a good assistant,
and also the treatment to mete out to him. —
G. E. H. G., in British Journal of Photography.

Keeping up to Standard

We once read of a photographer who pro-
cured the finest possible prints by each of the
processes worked in his establishment and hung
them in his workroom as a standard for his
printers to reach and, if possible, to improve
upon. The idea was a good one, but it should
not be confined to the workpeople only, the
principal himself should have a standard visible
or ideal in all his work and endeavor to live up to
it. Let us take a few instances in which this
may be done with profit in a material as well
as in a moral sense.

Firstly, we have the very important point of
permanency in prints, which is now, to use no
harder term, being overlooked by many workers.
Only a few years ago when albumen and P. O. P.
were in possession of the field, photographers
doing a high-class business made a strong stand
in favor of processes of undoubted permanency
such as carbon and black platinotype, and
obtained good prices and also a well-merited
reputation by so doing; but to-day many have
practically discarded these, and are relying
upon one or other of the development papers,
which, excellent as they are, cannot be guaran-
teed against fading for even a few years. Is it
not worth while to go back to the old standard,
and instead of making a toned bromide enlarge-
ment to make one which is of known durability
and to impress the fact upon the customer?
He will part with his money more cheerfully if
he is assured that his father's portrait will pass
on to his own children's children without loss
of quality.

Another standard which has to be maintained
is the actual quality of the print, and here there
is real danger of deterioration creeping in by
almost imperceptible degrees, especially with
bromide and gaslight papers. These we know
will work wonders when used with poor negatives,
and there is always a temptation to go just a
little too far and to put into the printing frame
negatives which should have found a resting
place under the sink. The expression and pose
may be good and the sitter may be satisfied, but
the print may fall into the hands of people who
do not recognize this, only seeing the poor
quality of the print, and the inference they will
draw is that all that photographer's prints are of
the same quality, and consequently their patron-
age is bestowed elsewhere. Even from good
negatives it is easy to produce poor prints by-
giving incorrect exposures or by using worn-
out developer, and in the latter case the worst

of it is that the change comes on so slowly that
it is apt to pass unnoticed, unless there are some
standard prints with which to compare from time
to time. It is generally unwise to take a standard
from among one's own work, unless the photog-
rapher can look round the photographic exhibi-
tions and into the show windows of the most
successful photographers in our great cities, and
say truthfully that there is not a print shown
which he cannot equal. In that case he is to
be envied or perhaps pitied, for he may feel that
there are no more worlds to conquer. There are,
however, few on this plane, and those we should
expect to find upon it are always ready to
acknowledge that they occasionally come upon a
picture which they would be proud to have pro-
duced. Remember, too, to take the big man's
best work as the standard, and do not compare
your best print with his worst and then argue
that all your work is as good as his.

A standard should be set for punctuality,
which seems such a commonplace virtue that
it is below the notice of most photographers.
If proofs are promised in three days, let them
be delivered to time, and if it be not possible to
deliver the whole of an order by the time agreed
upon, let as many prints as possible be sent, with
an apology. Do not wait until the entire number
can be delivered, as this causes a feeling of annoy-
ance and does not tend to an appreciative recep-
tion of the work when it does come to hand.
One point in which many photographers fail is
in allowing a gradual deterioration in the appear-
ance of their premises inside and out. In taking
fresh premises they should be careful to see that
paint, metal work, blinds, and drapery are bright
and fresh looking; but few are careful to maintain
them so, and now that competition is so keen,
and that family trade can no longer be relied
on to keep a business going, appearances must
be kept up to a fairly high level to attract fresh
customers. It is the old-established man who
is likely to suffer most in this way, for he gets
into a jog-trot "good enough" style, and then
cannot understand why his young rival, who is
full of hope and enthusiasm, manages successfully
to poach upon what he has considered his own
special territory. — British Journal of Photography.

Properties

Many a time it happens that the photographer
gets a sitter — often a child, sometimes an elderly
person — and directly he sees them his mind
conjures up a mental picture of the splendid
specimen that he or she would make. In a
flash, as it were, all the details settle them-
selves in his mind, he can see just how to do it
to produce the result he wants. But, alas,
almost as surely as this happens, so surely is the
dress and clothing of the sitter utterly unsuitable.
We all know just how hard it is to secure those
rare yet delightful specimens that, hanging in
reception-room or studio, are such an excellent
advertisement. Surely it would be worth taking
some little pains and trouble to make it an easier
and less rare occurrence to get such negatives.

Many and many an operator envies those
specimens he sees hanging in another man's
window, and says, "Oh well, but just look at the

262

THE STUDIO

sitters he gets, I could get just as jolly negatives
if only I had sitters dressed like that," and there
the matter rests.

The artist gets just the same trouble, but
usually he does not leave it there, but takes pains
to overcome the trouble, and so grapples with it
successfully, as we may see at any exhibition of
paintings. He does this by providing himself
with a few suitable "properties."

Take the case of children, you get a little chap
who would make a delightful barefooted study,
but alas, he is got-up in some prim serge sailor
suit or kilt or something equally hideous. All
right from his mother's point of view, of course,
but all wrong from the operator's.

Now, if you kept at hand one or two ordinary
holland "smocks" of real smock style, it would
be only the work of a minute or two to slip off
boots and stockings, and put him into one of
these comfortable, quaint, overalls, which hide
so great a multitude of sins of ugliness, and
immediately you transform him into a "study"
ripe for your lens. Rumple up his hair, give him
suitable toys and background, and you have
your heart's desire, and inasmuch as it does not
mean undressing him mamma will not object.
Two sizes of smock are best, one smaller and one
bigger; as they are loose, overall garments a
little extra size will not hurt, and will make it
more really useful.

A couple of large dark silk handkerchiefs —
upon one of which your receptionist can sew a
number of little showy sequins — together with
a beribboned tambourine — will give you lots
of charming head and shoulder studies of dusky
little gipsy lassies, whom your eye judges suit-
able. One handkerchief (with the sequins) goes
three-corner fashion over the head, and the other
folded the same way, over the shoulders, which
need to be bare, and there you have excellent
material to work upon.

An old dark shawl, a wide brimmed soft and
also old felt hat and a few clay pipes of different
lengths and shapes will help to transform many a
prim sitter into a splendid study of the kind you
need. While for elderly gentlemen, with the
right type of hair and face, a dark skull cap, and
an old dressing gown will work wonders, hiding
the excellent work of the most fashionable
tailor. Mind you, it's highly probable that these
sitters will not order from such negatives, but
the striking and interest-arousing specimens
they make are amply worth the trouble, and no
mother is proof against a charming child study.

A pair of children's size wooden shoes, which
can be procured from any of the theatrical supply
depots, are also a most useful thing, and give just
the right finishing touch to many a quaint little
child study that otherwise is tame and ordinary.
A biggish size can be used, as they do not look
by any means out of place. A nice old wooden
bowl for blowing bubbles, with one or two long
clay "churchwardens," will also be extremely
useful for children, and help to make interesting
pictures.

Two very handy little things to use with older
men folk, are the quaint, often ugly, old tobacco
jars, often with hideous human faces; and also
the old "toby" jugs. Excellent modern copies of
both these articles can be bought for a quarter

or so, and there is no doubt that often these
little details give the right finishing touch to a
"character study."

Of course, useful though all these things are,
everything must necessarily depend upon "the
man behind the camera," not the least part of his
tact will be needed to induce the right sort of
sitter to submit to such a metamorphosis, but
the results will repay his trouble and persuasive-
ness, and lead to more business by keeping his
windows bright and attractive.

At any rate, in our search for good specimens
let us not forget to take a leaf out of the artist's
book and provide the necessary "properties"
to ensure them, instead of the few meagre yards
of chiffon for draping, which seems to be the sole
stock-in-trade of many of the photographers
who grumble most at their lack of those artistic
specimens which many of their brethren display.
Hercules told the carter to put his shoulder to
the wheel, so let the grumbler keep a few useful
and artistic "properties," and not forget to use
them. — G. E. H. G., in British Journal of
Photography.

Photographers' Advertising

I want to speak of means for getting people
to inspect one's work. In regard to these meth-
ods, I am assuming that the business is of such
a fairly high-class character that it will repay
one's time and trouble which are spent in invit-
ing the better-class people in the locality to look
at one's portraiture. I am not thinking now of
a cheap class of business, the customers of which
are drawn from the masses of the population
which, I think, it would be profitless to circu-
larize in respect to any of the schemes which I
am now referring to.

Of the various ways of inducing people to
examine one's work attentively, I hold the view
that the most effective, where circumstances
permit, is to issue an invitation to some collec-
tion of photographs arranged in the reception-
room or studio. To me that has always seemed
the most adroit form of advertisement, because
it smacks less than any other of the professional
advertiser. The thing is that one should have
a collection of photographs which will provide
the inducement to come. In my experience, one
of the surest draws has been photographs of
children, but, then, I have always gone to a
good deal of trouble to "put on" the exhibition
in proper shape. To do this, it is necessary, I
think, to have a small catalogue with entries
corresponding with the numbers on the por-
traits and either indicating the identity of the
little sitters or providing some fancy title. In
giving the names of the children, one must, of
course, get the permission of the parents, as,
indeed, is equally necessary for the exhibition
of the photograph at all. When it comes to-
deciding the form in which the name of the child
shall be entered in the catalogue, some little
difficulty presents itself. The usual plan, of
course, is, for example, "Gladys, daughter of
A. B. So-and-so, Esq.," which is all very well on
the principle that no man is offended by being,
addressed as "Esq." It breaks down, however,.

THE STUDIO

263

for the reason that some men object to others
being so addressed, or, rather, the objection
comes from the wives of those considering them-
selves to occupy the seats of the mighty. One
seeks to avoid treading on people's corns, and,
therefore, the best way out of the difficulty is
simply to use the Christian and second names
of quite small children, with the prefix of " Miss"
or "Master," if they are anything more than
little toddles.

I would leave the reader to his own exercises
in psychology for the purpose of selecting special
collections of photographs which will best serve
for little exhibitions like these. He may be
reminded of the redoubtable Mr. Strauss, of St.
Louis, who has made his establishment a social
center of the city by such means as these. I
believe one of Strauss' most successful exhibi-
tions in his studio was one of the eligible bach-
elors of St. Louis.

I can give one hint on what to avoid, and that
is local municipal personages. I once thought
that a collection of portraits of the mayors past
and present would have proved some sort of an
attraction. I must have been mad. It turned
out that hardly anyone wanted to see the photo-
graphs of mayors, and by the time I had got the
pictures ready for the walls I wasn't surprised
at it. No reason, by the way, why one's facili-
ties for holding a little show should be restricted
to photographs. I heard not long ago of a
brother professional who used his reception-room
for a week or two in showing the work of a local
landscape painter. He said that it brought
people to his studio who would never have come
there by any direct inducement.

Another scheme which has its scope is the
provision of the opportunity for possible cus-
tomers to inspect your work at home at their
leisure. It is not a scheme which can be worked
in a big way, but as a supplement to other means
it is certainly one which is worth while. One
advantage of it is that the particular photographs
to be offered for the consideration of, say, Mrs.
A. can be selected with regard to any knowledge
one may have of the social circle in which Mrs.
A. moves, or would like to move. There is
something in that (more in one case than in
another), and I tell my receptionist to use her
knowledge of people when selecting the por-
traits for a portfolio. A very essential thing is
to avoid giving people any trouble in looking
at one of these portfolios and in fixing it up
again in readiness for its being called for. The
portfolio should be of substantial material —
some of the linen-surface mounting papers make
a good covering for the heavy boards of the
body of the portfolio. There should be broad
silk strings which can be easily untied and re-
tied, and it is best, I think, to send the port-
folio without any outside wrapping, but simply
with a brief letter expressing the hope that the
contents will be deemed worthy of inspection,
and intimating that a messenger will call for the
portfolio within, say, three days. Odd times
provide the means of making and mounting
prints for these portfolios, some half-dozen of
which, each containing, say, a dozen prints, are
amply sufficient in a town of moderate size. A
register must be kept of the names and addresses
to which a portfolio is sent, and it is a good rule,

I think, not to repeat an application of this sort
within two years.

Now I come to what is perhaps the most widely
used method of canvassing for business — namely,
by booklet, which makes some appeal to the
intending customer and is accompanied by a
selection of reproductions of the photographer's
work. L ndoubtedly this is an excellent scheme
of approaching a larger circle of possible custo-
mers than can be reached in almost any other
way. The first condition for its success is, I
think, that the reproduction should be as good
as can be m&de. Hitherto, the sole means of
issuing such reproductions has been the half-
tone process, and I have seen some exceedingly
beautiful specimen books of photographers' work
in which everything had been done by way of
choice of ink and paper to convey an adequate
idea of the quality of the actual portrait prints.
On the other hand, I have seen many examples
which have seemed to me totally useless for their
purpose — a poor sort of block, not as well
printed as it might be, on inferior paper. It
must be recognized that in any process of repro-
duction the quality of the original photograph
is lost to a greater or less extent. With the high-
est class of half-tone engraving, and when using
a high quality toned paper of velvet surface, one
can certainly secure an effect which does not
reflect unfavorably upon one's work. An even
better degree of reproduction is obtained by
the photogravure process, for the proofs from
these intaglio plates have a quality which is
altogether missi ng from any half-tone work. Now
that there are a number of firms turning out
excellent machine photogravure, it may be
anticipated that professional photographers will
find the process a valuable one in bringing their
portraiture adequately before the people in their
locality by postal distribution.

A booklet of this sort gains greatly in effective-
ness if the brief letterpress contained in it can
be made apropos of something taking place in
the district, or, at any rate, if it can be issued
with some definite appeal such as photographs
for Christmas presents, a regular series of por-
traits of children, or a similar text of having a
general application. When the engraver and
printer have done their best it still remains for
the photographer to do his part in the best way.
Extreme care should be given to having the
names and initials of each person to whom the
booklet is sent exactly right: mistakes of this
kind immediately give a suggestion of sloven-
liness in the minds of the people before whom
they come. It is a matter for consideration
whether the envelope should be sealed, or the
booklets sent in envelopes with a half-penny
stamp. If a booklet is thoroughly well done, it
is often worth while, I think, to spend a penny
on its postage in a sealed envelope for the sake
of making sure that it will get into the hands of
the recipient and not be thrown away with other
"circulars." One requires to consider, too, the
time of year at which to issue such a booklet.
L^sually, spring and autumn are the best times
of year, although in the country some special
local event, such as a horse show, big cricket
match, or ball may provide an occasion of new
clothes with their consequent inducement for fresh
photographs. — British Journal of Photography.

Prizes for Pictures

Fourteen prizes aggregating $3000 cash, and
ranging from $100 to $750, are offered in the
1917 Kodak Advertising Competition for pic-
tures suitable for illustrating kodak advertising.

Type talks, but in comparison with a picture
it takes it a long time to tell the story. For
this reason there is particular point to the
photograph on the advertising page, where space
means money and where the one idea is first
to get the reader's attention and then to tell
him something so emphatically that he won't
forget it.

For years much of the impetus of this adver-
tising drive has been supplied by story-telling
photographs — not necessarily pictures made
with a kodak, but pictures that put the joys
of kodaking or the distinctive features of the
kodak right before the reader's eyes. These
pictures have helped sell kodaks, and most of
them have been secured through annual
competition.

There is big money and a growing market
for photographs that will sell goods. The
field is one with which any photographer can
well afford to acquaint himself. The 1917
Kodak Advertising Competition offers theoppor-
tunity, the experience will prove invaluable and
tbe prizes supply incentive. A detailed circular
will be supplied by applying to the Eastman
Kodak Company, Rochester, N. Y.

photographer whose work is distinctive and of
a very high order, and is gaining recognition
wherever exhibited. We expect to have the
pleasure of showing our readers further examples
of Mr. Saad's work in the near future.

Enlarging : A Few Suggestions for the
Professional Photographer

A new and revised edition of this valuable
and suggestive handbook has just been issued,
and we are glad to bring it to the attention
of our readers. Every phase of this profitable
and popular method of photography is treated
upon with many notes and illustrations, and
can be had by applying to the Eastman Kodak
Company, of Rochester, N. Y., or through your
dealer. We recommend it for the soundness of
the information and the many helpful sugges-
tions.

Our Cover Picture

Our attractive cover picture, " Daisies," is
by Mr. J. I. Saad, of Pikeville, Kentucky, a

(264)

The Summer Session of the Clarence H. White
School

The eighth summer session will be held at
Canaan, Connecticut, during July and August,
1917, the growth of the school having necessi-
tated a change from the former location.
Canaan is situated in a beautiful valley in
the Berkshire Hills of northern Connecticut,
and is about four hours' ride by train from
New York City. Canaan is at an elevation
of about eight hundred feet above sea-level,
and is surrounded by hills rising eight hundred
feet or more above the floor of the valley. The
country furnishes abundance of photographic
material, comprising, within easy walking dis-
tance of the school, farms, rolling uplands,
streams, rugged mountains, and architecture of
typically New England character, many of the
buildings dating from Colonial times.

Sessions of the school are held in a com-
modious and neatly finished building, equipped
with dark-room, lecture and exhibition room,
studio, enlarging room, a printing and work
room, running water and electric lights, and
the whole affords ample opportunity for full
instruction in both the artistic and the technical
phases of photography.

The efforts of the faculty are directed toward
familiarizing the student with the construction
and use of the camera, with the types of lenses
and their applications, with exposure and
development, and with the various printing
mediums of value to the artist. As much time
and effort as are given to the study of technical
methods are devoted to training the perceptions
of the photographer and to cultivating in him
a mental attitude which will make his work of
lasting value from an artistic point of view.
Some of the students of former years are now
among the most favorably known exhibitors
of this country and Europe, and some are
successfully engaged in teaching and practising
the art of photography. The lectures on art
appreciation will be illustrated with carefully

NOTES AND NEWS

265

chosen lantern-slide reproductions of art and
art-photography.

Students in the summer school will be credited
on the full-year course with the work done in
the summer term.

Applications for accommodations should be
made to Mr. White or direct to Miss Louise
Bragg, The Maples, Canaan, Conn., at the
earliest possible moment.

For reservations or further information,
address: Clarence H. White, 230 East 11th
Street, Xew York City.

The New "Universal" Catalogue

From Messrs. Burke & James, Inc., of
Chicago, we have received a copy of the latest
edition of the "Universal" catalogue. Since
taking over the agency for this camera we learn
the sales have been unusual. The "Universal"
at S300 represents a wonderful value at the
price now obtainable in the motion-picture
field. It is an especially desirable machine for
motion-picture weekly men, advertising and
commercial film producers, newspaper photog-
raphers, and well-to-do amateurs. A copy of
this new catalogue will be mailed to any of
our readers on request.

This well-known firm also have an excellent
proposition for photographic supply dealers and
motion-picture supply houses.

The Finger-print Camera

From the Folmer & Schwing Division of the
Eastman Kodak Co. we have received a booklet
describing the new Finger-print Camera, which
that ingenious camera deviser, Folmer, has in-
vented. This camera is primarily intended for
use in criminal investigations, based upon the
well-known fact that finger-prints are nearly
always left behind by the criminal in action and
that no two finger-prints are alike. The camera
is also recommended for use in obtaining full-
size records of lace patterns, labels, printed or
written matter, etc. In fact, its use is unlimited.
The camera is equipped with four miniature
lamps operated by batteries placed in the camera.
When the camera is in use, placed directly
against or over the subject or finger-print to
be recorded, these lamps are automatically
turned on by pressing the shutter release lever,
making the exposures. An F/6.3 Kodak Anastig-
mat lens is provided and either plates, film-
packs, or roll-film can be used. The price of the
camera complete is S30. The camera will un-
doubtedly have a big sale both in police depart-
ments and in all lines of business. The booklet
describing the camera and its use can be obtained
free on application to the Folmer & Schwing
Division, Rochester, X. Y.

Eastman Plans Paper Mill

The Eastman Kodak Company has the foun-
dation laid for a photographic paper mill,
128 x 430 feet, six stories and basement. This
building will be of concrete and steel construc-
tion, and the largest mill of the kind in the
world.

Death of Frederick Gutekunst

Frederick Gutekunst, dean of American
photographers and a world-wide celebrity,
whose remarkable pictures of great men of this
country were noted everywhere, died at his home
in Philadelphia, April 27, at the age of eighty-
five vears.

THE LATE FREDERICK GUTEKUNST

Born in Germany in 1831, the son of a cabinet-
maker, Mr. Gutekunst came with his father
to this country when a boy, and settled in
Germantown. After receiving a common-school
education he entered the employment of a drug-
gist and while there experimented in chemistry
and electricity. In those days daguerreotypes
were regarded as great curiosities, and he experi-
mented with them, finally making copper
electrotypes from them. His work in this direc-
tion brought him in contact with Dr. Isaac
Norris, afterward secretary of the Franklin Insti-
tute, who had been making experiments with
daguerreotypes, and they exchanged apparatus
and from that time began his career as a photog-
rapher. He secured a gallery in Arch Street,
Philadelphia, in 1854 and for more than sixty
years personally conducted his establishment.

The business grew apace, especially after the
Civil War broke out, for every soldier had to
have his picture taken, as did all his relatives
and close friends. From the beginning almost
to the day of his death Mr. Gutekunst had taken
great pride in his profession, and personally
supervised all the work of his studio, from the
taking of the negatives to the printing, mounting,
and finishing processes. Because of his love of
his profession, he was ambitious to make photo-

266

NOTES AND NEWS

graphs of men eminent in their professions, and
his collection of negatives of distinguished
characters is unequalled. The number of
national celebrities whose pictures he took —
some nearly life-size — is legion. Among the
really great pictures are those of William
McKinley, Grover Cleveland, Carl Schurz,
William Cullen Bryant, Henry Wadsworth
Longfellow, and others too numerous to mention,
and all extraordinary specimens of the photog-
rapher's art, and it is safe to say that they are
unrivalled, not only in this, but any country.
Mr. Gutekunst bestowed the most loving care on
every detail that went to the perfection of his
establishment, and was entirely free from
mercenary considerations in the practice of his
art. He loved his work, and was so conscien-
tious in his prints that, even when the sitters
were satisfied and he was not, he insisted upon
new sittings.

It will be interesting to our readers to know
that prior to the beginning of this Magazine,
its founder, Edward L. Wilson, was associated
with Mr. Gutekunst and for years they enjoyed
the closest friendship.

How to Regain Gold, Silver and Platinum from
Waste Solutions and How to Sell it

For the benefit of our readers we publish the
following directions to regain gold, silver, and
platinum from waste solutions, and by writing
to the address at the footing of this item you can
find a market for the regained metal.

1. Add enough acid (muriatic or sulphuric) to
make it sour (about one pound to the gallon)
and stir well.

2. Then dissolve the sulphuret potassium in
water (about one pound to the gallon), and add
this to the sour waste solution. Stir well and
allow it to settle for about three to five hours.

3. Collect the precipitate on a muslin filter.
It may then be shipped in a tight package direct
to the refinery at Newark, N. J.

It is to your advantage to keep platinum
separate from gold and silver.

Write to Charles Cooper & Co., 194 Worth
Street, New York, N. Y.

"Landscape Photography"

This latest number (160) in the excellent
Photo- Miniature series presents an intimate
guide for those who want to make pictures
with the camera out-of-doors instead of mere
photographs. This issue is profusely illus-
trated and is a complete and satisfactory
handbook on this seasonable subject. Copies
at twenty-five cents can be supplied through
your dealer or from the publishers, Messrs.
Tennant & Ward, 103 Park Avenue, New
York City.

Coming Conventions

Missouri Valley Association. To be held at
Kansas City, July 17 to 21.

Ohio-Michigan Association. To be held at
Cedar Point, July 31 to August 3.

Photographers' Association of America. To be
held at Milwaukee, Wis., September 3 to 8.

New England Association. To be held at
Providence, R. I., September 25 to 28.

Texas Association. Houston, Texas, Sep-
tember 17 to 20.

The Cirkut Method

This is the title of the 1917 Cirkut catalogue.
The Cirkut has long ago found its place in the
well-equipped studio, as the demand for its
services is unending. Quite aside from its use
for group photographs at both large and small
gatherings, conventions, etc., the professional
will find it very valuable for making panoramic
pictures of his locality. There should be a large
demand, too, this year, if this country takes
to preparedness, for Cirkut pictures of local
companies of the militia. The new booklet
illustrates a couple of such soldier groups. The
Cirkut comes in six sizes of film width, 5, 6f,
8, 10, 12 and 16 inches, the length of the picture
possible with these varying from 42 inches for
the smallest to 20 feet for the No. 16. The
booklet will be sent free on application to the
Folmer & Schwing Division, Rochester, N. Y.

Stellar Images on a Photographic Plate as
Affected by Development 1

A preliminary investigation of a twofold
nature: (a) determination of differences in
power, if any, of various developers in develop-
ing faint stellar images; (b) determination of
differences in quality, if any, of stellar images,
depending upon the developer, with special
reference to the accuracy of measurement of their
distance apart on the plate.

The tests were made by photographing a
series of small round holes in a plate. Under
(a) above, no certain differences were detected.
In investigating (b) pyro and caustic hydro-
chinon (process developer) were tried, develop-
ment being carried to two and four minutes.
From the measurement of 320 distances between
images it was established that greater accuracy
in measurement was secured where the process
developer was used; that the lighter develop-
ment gave best results. This superiority was
anticipated, since the appearance of the images
was decidedly better for short development in
process developer than for any other of those
tried.

1 Communication No. 47 of the Research
Laboratory of the Eastman Kodak Company,
published in Journal, Optical Society of America,
January, 1917.

CORRESPONDENCE

Correspondents should never write on both sides of
the paper -^ No notice is taken of communications unlerr
the nanier (H addresser of the writer/ are given *- ^
Wedonotundertdkeresponsibililyhht^niom&prefsedkowcon&pmdenls

WORTH-WHILE LETTERS ON LIVE IDEAS
FROM OUR CONTRIBUTING EDITORS

Keeping Fingers Clean

To the Editor:

Sir: In reply to your recent letter, I give a
hint for keeping the fingers in better condition.

Heat paraffin in pan until melted and add
equal amount petroleum jelly (cosmoline) ; when
all is melted, pour into tin boxes (typewriter
ribbon boxes are good).

For use, apply to finger-tips; if in cold weather,
wrork up in palm of hand.

This protects from silver stains, considerably;
but, say once or twice a week, apply saturated
solution sulphuret sodium (old solution is best),
to be applied with absorbent cotton on end of
stick to silver stains and will turn the old skin
and stains black.

While applying be careful not to over do.
Apply for few seconds, then rinse under tap;
old skin can be removed with finger-nail, blunt
knife, or scrub-brush.

Any old skin not removed by above methods
can be finished up with solution of iodine and
cyanide, as used by photo-engravers.

The iodine solution is: iodine, lj ounces or
parts; iodide of potassium, 3 ounces or parts.
Take small quantity and add enough cyanide to
turn clear. Apply with cotton and rinse well.
As the cyanide is poisonous, do not apply to
broken skin or cuts. Probably by experiment
you could improve on these methods, especially
in regards to cyanide.

The cyanide is not absolutely necessary, but
makes a better finish.

I find when removing chemical stains with
sulphuret sodium instead of finishing up with the
iodine and cyanide I now use a wad of absorbent
cotton, wet, dipped in powdered pumice-stone as
a finish, being non-poisonous. You can the
better recommend or publish same.

Otto E. Elwert.

April 16, 1917.

A "Touching-out" Method

To the Editor:

Sir: For "touching-out" plain photographic
work, I advise you to have by your side a
palette, upon which are ground moderate por-
tions of a good black Indian ink, warm sepia,
and scarlet lake. With combinations of these
you can readily imitate the photography upon
which you are working, whether it be cold
or warm in tone. Of course, it is necessary to
apply these tints with a brush, and if you use
plain water as a dilutent, you will leave a dead

surface that betrays your trail. Everyone
will exclaim: Why not then use gum water?
That will leave a gloss. Perfectly right! but
it leaves too much gloss. In addition, I don't
believe that the half of you know how to make
gum wrater. Accept my formula, and adopt
it or not, as you see fit:

Picked gum Arabic ... 1 oz.

Loaf sugar 1 dram

Acetic acid 39 min.

Alcohol 30 min.

Water in sufficient quantity, say, from 6 to 8
ounces.

Don't be frightened at the mention of the
acid, and at the idea of putting a modicum of
it upon the surface of your photograph. Used
in this way, it will not, I assure you, prove
destructive in the slightest degree. The gum
water, however, I do not use for the indicated
purpose. There is a better vehicle — the much-
abused, always useful, albumen.

The value of an encaustic paste in giving depth,
richness, and transparency to the shadows
of a photograph, and in bringing out the deli-
cate gradations in the whites, is now so well
known that it needs scarcely to be stated;
and it is tolerably clear, also, that it adds to the
permanency of the prints. My prints owe
much of richness and depth to treatment with
an excellent preparation of this kind, the formula
of which stands as follows:

Pure virgin wax .... 500 gms.

Gum elemi 10

Benzole 200 "

Essence of lavender . . . 300 "

Oil of spike 15 "

Those who wish to try a small sample can
substitute grains for grams. Melt the whole
on a w^ater-bath, mix thoroughly, and strain
through muslin. A simpler plan will be to
dissolve the elemi in the solvents, as described
above, and, after filtering, mix with the melted
wax, as the filtration, which is chiefly intended
for the gum elemi, is more easily managed
before the wax is present. This, when finished,
forms a stiff paste. By increasing the pro-
portion of essence of lavender it can be made
thinner, wmich in winter may be desirable.
The encaustic paste is put on the print in patches
in three or four parts, and then rubbed, with
a light quick motion, writh a piece of clean
flannel, until a .firm, fine surface is obtained.

(267)

268

CORRESPONDENCE

If a rich, thick coating of the encaustic be
desired, a very light pressure in rubbing is
necessary, so that a polish may be acquired
without rubbing off the paste in the operation.
If a print be retouched more special care is
required to use a light hand in applying the
encaustic paste.

Yours truly,

Sol Heller.
April 23, 1917.

Printing Stereoscopic Negatives

To the Editor:

Sir: I send you a little dodge in the printing
line which I find useful in making prints from
stereoscopic negatives, and by which cutting
and transposing either the prints or the nega-
tives are saved. In the first place I have a
bottom line on my negative, which can be
made by pasting a narrow strip of paper or
drawing a clear line with a sharp knife on the
base of the negative, and which serves as a guide
for cutting away the edge of the print. Next
cut your paper in strips, suiting the width of
your negative and just twice its length. Have
a piece of smooth, thin, opaque paper just the
exact length of the negative; draw a vertical
line on this in the center; lay your paper, albu-
menized side out, on this mask, making the
ends to meet at the line; now print first on one
side and then on the other, taking care to have
the base-lines correspond; and when the print
is made, cut the paper in the center, and it is
already matched, transposed, and ready to have
the corners trimmed either round or square, and
mounted

A. P. Libby.

May 4, 1917.

Retouching

To the Editor:

Sir: I think the practice of retouching the
negative a sad thing for photography. It is
impossible, for even very capable artists, to
rival or improve the delicate, almost mysterious,
gradations of the photograph. Magnify the
photographic rendering of, say, the human
eye, with a strong lens, and it is found to be
almost startling in its marvelous truth. Mag-
nify the retouched image, and it will look like
coarse deformity. It ceases to be true. I
have sometimes seen a touched photograph
which looked very nice,' but it possessed no
interest for me; I knew it could not be trusted.
I have been charged with sophisticating photo-
graphs because I combined and masked and
sunned prints. But there is a great distinction
between suppressing and adding; I never added.
I stopped out portions of the negative which

I did not require to form my picture; I sunned
down that which was obtrusive, and where one
negative would not serve, I used two or more,
joining them with as much truth as I could.
But I never attempted to improve negatives.
I never believed that I could draw better or
more truly than nature. I consider a touched
photograph spoiled for every purpose.

O. G. Relander.
April 26, 1917.

Manipulation Pointer

To the Editor:

Sir: This may be of help to your readers.
I find the cold affects the chemicals by render-
ing them torpid, whereby they lose one-half of
their power and energy. The collodion sets
slowly, and the resulting plate, instead of com-
ing out of the bath rich and creamy, will be
thin and transparent, of a bluish color; the
developer works slowly, depositing nearly all the
silver upon the whites, thereby giving too great
a density to the negative, and with difficulty
bringing out the details. The result is an
imperfect negative, with very little chance of
doing better next time. Heat increases chem-
ical action and cold decreases it. Cold renders
long exposures necessary, and produces hard
negatives without detail. On the other hand,
too high a temperature will give flat negatives
without contrast, with a tendency to spon-
taneous reduction otherwise called fog. We
must, then, to be successful, steer clear of
both extremes. If possible, the temperature
of the rooms should never be below 55° nor
above 70° F. This temperature should be main-
tained as near as possible, night and day, by
the aid of artificial heat. More particularly
is it necessary at night, because, when the
heat is allowed to go down after the work of
the day is done, the chemicals are all chilled
by morning, and, although it may take but a
few minutes for the room to get comfortable,
it will take many hours for the heat to pene-
trate through the bath and solution, and just
as they begin to get in tolerable working order
it is time to close business, and you go again in
the morning to find the same trouble.

Another strong reason for an even temperature
is to be found in the fact, that a sudden rise
of temperature in a cold room condenses mois-
ture upon your negative glass and the lenses
of your instrument, upon the same principle
that it does upon a pitcher of ice-water when
carried into a warm room. This moisture will
cause the film to slip off your plates during
the manipulations, unless they are warmed
sufficiently to drive it off before coating.

George H. Fennmore.

May 10, 1917.

THE WORKROOM

By tf?e JiealT Operator

The Care of Apparatus

Water

Photographing Machinery at Works

The Sulphide Toning of Bromide Prints

The Amidol Developer

Tear Marks

How to Strip Broken Negatives

Copying Faded Prints

Steaming of Bromide Prints

Blue Tones on Developing Papers

Small Enlargements

Bromide Vignetting

The Care of Apparatus

The bad workman who always finds fault with
his tools is well known to us all, by reputation if
not by actual experience of him; but no one seems
to have troubled to find out why he finds fault
with them, and whether, after all, his complaints
are not sometimes justifiable. For one thing, a
bad workman requires better tools than a good
one, since he has neither the wit nor the skill to
make up for the shortcomings of inferior ones,
although it is foolish for even the best workman
to handicap himself by the use of such. We
rather suspect that, after all, laziness was at the
bottom of his trouble, and that he found fault
with his tools because he did not give them the
care necessary to keep them in good working
order. Ingenuity is a good thing, and will often
help one out of a difficulty, but thoroughness is
better, and the feeling of confidence begotten of
reliable apparatus is more satisfactory than the
thrill of relief experienced by the skilful avoidance
of a totally unnecessary disaster. The operator,
whether engaged upon indoor or outdoor work,
needs to keep a watchful eye upon his apparatus
lest it breaks down at a critical moment, when
there is no possibility of repairing it. It takes a
lot of explanation when an operator misses an
important subject because his camera front has
given way, and there was no time to refix it, and
in the majority of cases he will only have himself
to blame if he is requested to exercise his talents
in another establishment. The accidents which
are unavoidable must be endured, but those
which could easiest be avoided cause the greatest
annoyance when they happen.

It should be assumed that every well-made
camera can be opened, closed, and all its adjust-
ments made without any perceptible effort being
necessary. Just as pain is simply a sign that
there is something wrong with the vital organism,
so any stiffness or jamming in a camera is a sign
that something is displaced or has become bent.
If a camera be forcibly closed it means that a
strain has been put upon some part not designed
to bear it, and after this has been done for a few
times we find to our dismay that one of the clamp-

Enlarging Single Figures from Group Negatives

Influence of Potassium Bromide in the De-
veloper on Sulphide Toning of Bromide
Prints

Wide-angled Views

Influences Modyfying Color Rendering

Stereoscopic Work

Chemical Analysis of Gelatin Dry-plates

A Simple Test for Pure Paper

Multiple Negatives

Random Notes

ing rods has given way, or that the bearing of the
focussing pinion has been torn up "by the roots."
In closing a conical camera care should be taken
that the baseboard is racked right home, that the
rising front is set to its correct position, and that
any screws which have to fall into place upon the
baseboard are in their correct position — that is to
say that, if there is a hole made to receive an
oblong nut, the nut should not be left at right
angles to it. Many cameras of this type are
ruined by a want of these simple precautions,
crumpled bellows, bent struts, and bruised wood-
work being the usual results. The parallel bel-
lows camera does not call for so much care in
handling, but even with this the baseboard is
frequently strained through closing the camera
with the reversing back in the position for
"upright" pictures, in which case the hinges of
the focus screen usually foul the long brass
runners of the baseboard. Injury may also result
from failure to close and secure the swing-back,
or to attempt to fold the baseboard with the
inner frame racked out ever so little. The hinges
of dark-slides are often badly strained through
attempting to close them with a displaced parti-
tion or badly fitted inner frame. It is, of course,
impossible to close the slide under these circum-
stances; but a few good wrenches given before
looking for the trouble soon leave their impres-
sions. Tripod stands are often damaged by turn-
ing the members in a direction contrary to that in
which they are intended to go, and spring catches
are wrenched off because a piece of shaving or
other foreign substance is in the hollow beneath
the press button. Lenses are usually only dam-
aged by the want of proper packing. Every lens
should have its own case, or, at all events, a thick
chamois leather bag, to which it should be
returned immediately it is removed from the
camera. Crossed threads on the lens cells and
tube frequently result from hurried handling,
and, having once been started, are likely to recur
every time the cells are unscrewed. In such case
the lens should be returned to the maker to have
the false thread obliterated before the original one
becomes quite destroyed. Lenses should never
be cleaned with puttv powder, rouge, or any

(269)

270

THE WORKROOM

cleaning material, and should be wetted as little
as possible. A drop of pure alcohol and an old
handkerchief are the only safe materials in un-
skilled hands. If any moisture condenses upon a
lens it should be wiped off at once and not allowed
to evaporate; if this is not done quickly "rust"
will probably appear, and the more expensive the
lens, as a rule, the greater is the liability to
staining from damp.

It is not advisable to use any spirit polishes or
"revivers" for cleansing and renovating the
woodwork of cameras or other apparatus; a good
furniture cream thinned with turpentine will
clean and polish, or if a home-made preparation is
wanted, a teaspoonful each of olive oil and good
vinegar well rubbed on with a morsel of flannel
and polished off with a clean duster will work
wonders. If grooves or other wooden surfaces
require lubrication, do not use grease, but dry
blacklead, or, better and cleaner, French chalk,
and it may be worth noting that for all photo-
graphic purposes French chalk scraped off the
lump is much better than that purchased in
powder. If blacklead is preferred, a carpenter's
pencil affords the cleanest and easiest method of
applying it. Every camera case ought to contain
a repair outfit, which need not be larger than its
cycle prototype. It may consist of a small wire
screwdriver, a roll of rubber plaster, a small tube
of fish glue, and a few very small screws, tacks,
and pins. With these most temporary repairs
may be effected, and a journey home for repairs
avoided. — British Journal of Photography.

Water

Of all the materials used in photographic
work, water is most largely employed; and to
water is given the least attention of any photo-
graphic chemical.

Water is a chemical, just as much as pyro or
citric acid; but because it occurs so abundantly
in nature we are apt to overlook this point, and,
in fact, to ignore water altogether, and to look
upon it as merely a necessary commodity.

It is quite a common thing to see in published
formulae the recommendation of distilled water;
thus, in making up toning solutions and develop-
ers distilled water is almost invariably recom-
mended; sometimes you will see the phrase
"distilled or boiled water," showing that there
is some definite preference for these over ordinary
or tap water.

Water should be a plain combination of the
gases hydrogen and oxygen; but tap water
contains numerous impurities, such as iron,
chlorides, etc. Hence the man who despises dis-
tilled water, and makes up his solutions with
water from the faucet, runs many a risk, and
sometimes gets trouble, which he, of course, puts
down to inferior plates or paper.

Sodium chloride is well known to be a restrainer
of developers, and therefore if one week you make
up a stock of solution with city water, you may
not find it work quite the same as another solu-
tion you make up the next week. The quantities
of impurities in water vary frequently, and tap
water is in consequence an uncertain element.

Iron causes many troubles, depending on the
character of the solution; thus a pyro-ammonia

or hydroquinone-soda developer will give rise to
purple or black spots (respectively) in plates,
which appear on and after fixing if the city water
contains iron. There is so much rust, etc., in the
water in some districts (especially when any alter-
ations are being made in the mains by the local
authorities), that sometimes it is quite desirable
to lay four or five thicknesses of muslin over the
faucet. Try this experiment yourself, and after
a week remove the muslin and examine it; it
will probably be quite reddish-brown with rust.

City water also contains lime and magnesia,
the former being the chief cause of "hardness;"
temporary hardness is removed by boiling the
water, i. e., the calcium carbonate is precipitated,
and living organic matter is similarly destroyed;
otherwise boiled water is little preferable to tap.

Distilled water, which is condensed steam, is
practically pure, and should really be used by
careful workers in the making up of every solu-
tion except the fixing bath. If this be done, you
will then know that solutions made at different
times will always be alike, unless perchance
impure chemicals be employed — but this is not
very likely at the present day, save in one or two
cases. The following tests for water will prove
of interest, and it will be worth while making a
note of them in the dark-room for reference.

Chlorides. Dissolve 10 grains of nitrate of
silver in an ounce of distilled water; add a few
drops of this to some of the water you are testing;
the latter will at once turn milky if chlorides are
present, and on adding a little ammonia it will
become clear again.

Iron. Add 2 drops of strong nitric acid to
about 4 ounces of the water, and boil the water
in a glass beaker until it has become reduced in
bulk to about half an ounce; let it get quite cold,
and then add 4 drops of a 5 per cent, solution of
potassium ferrocyanide, and stand the beaker
on a sheet of white paper. If iron be present,
the water rapidly assumes a blue color.

Organic matter is present in city and rain
water, but the latter is in other respects equal to
distilled, and if boiled first may safely be used
for making up developers, but not gold toning
baths.

Photographing Machinery at Works

Of all the troublesome jobs which have to be
undertaken by the photographer there are none
that call for more resource and technical skill
than the photographing of a piece of complicated
machinery. Nine times out of ten the work has
to be done under circumstances that would make
even a simple bit of work difficult. As often as
not the point of view required is one facing the
largest light, and neighboring objects throw
cross shadows that still further confuse the
crowded details. Working under these adverse
conditions, the photographer is expected to
produce a print in which the important parts
that call for attention stand out clearly, free
from shadows of other objects, and relieved
against a white or light-gray background.

A good deal of judgment and quiet assurance
are required in making the preliminary arrange-
ments. Generally speaking, the people for whom
the work is to be done know nothing of the

THE WORKROOM

271

photographer's requirements, and may be
inclined to look upon his requests as being
unnecessary. If he knows exactly what he wants,
and can discriminate between what is capable
of being done and what is practically impossible,
and can, if required, give convincing reasons for
what he wants done, his clients are likely to
prove amenable to reason.

In the first place, it is imperative that he
should have sufficient room in which to work.
He is, presumably, provided with at least a
couple of lenses embracing different angles on
the plate to be used. An exact knowledge of
what they will include at different distances,
and a foot-rule, will assist him in coming to a
rapid decision as to what alterations are abso-
lutely necessary, and how they may best be
made. Fussiness and contradictory orders will
ruin his reputation at once. As an instance of
this sort of thing in my own experience, an
elaborately built-up platform was moved at the
request of the photographer several yards three
times, and was finally placed within a foot of its
original position.

When the machine is too heavy for easy
removal, and the lighting is altogether unsuitable,
temporary blinds and the use of artificial light
to supplement the exposure may have to be
resorted to, while to overcome cross shadows
reflectors mav have to be employed. White
tissue-paper lightly attached to the window will
soften an overstrong direct light, and at the same
time will diffuse that which passes, with the
result that gleaming high-lights from the polished
metal will be less obtrusive, and the deep shadows
will be better lit. In some instances the windows
may have to be blocked up with brown paper
and artificial light used. Sheets of white card-
board may be placed in such positions and at
such angles as to reflect the light into the deeper
shadows.

When artificial light has to be used to supple-
ment the exposures, magnesium ribbon will be
found the more generally useful. There are many
flash lamps on the market, but in my own case
I nearly always get all I want with pieces of
magnesium ribbon held in a pair of pliers and
kept moving. The main light and shade are
best given by daylight, the ribbon being used to
give a little illumination in the darkest corners,
just as reflectors might be. It is better in all
classes of work, and most particularly with regard
to machinery, to diffuse the light through a
screen of tissue-paper than to allow it to fall
direct upon the bright metal. The magnesium
candles now sold may also be found useful. In
using these the tissue-paper screen should also
be employed.

As the blocking out from the negative of
other objects than those required is a difficult
and tedious process, it is much better to go to
some trouble to rig up a suitable background.
The white sheets sometimes offered for the
purpose in engineering establishments are worse
than useless. They are, as a rule, badly creased,
dirty, and fall into unsightly folds. Stout white
paper, such as is made in large sizes for draughts-
men's use, is distinctly preferable, and, if neatly
joined with a mountant that is nearly dry, a
background of [practically any size may be

made up that will require the minimum of re-
touching.

It is, of course, quite useless to make the
exposure while other machinery is at work.
However solidly built the workshop may be,
there is always a certain amount of vibration
that will cause blurred outlines in the negative.
When a large number of workmen are employed,
it is hopeless to expect that the operations will be
stopped for an hour or so to enable the pho-
tographer to make his exposure. The breakfast
time or the dinner hour should be selected, and
all arrangements should be completed in advance,
so that the fullest advantage may be taken of
these periods of cessation of work.

The vibration of the premises is not the only
cause which leads to blurring. Currents of
heated air are quite as troublesome. In one case
that came under my notice, an engine that had to
be photographed was running until within a
few minutes of the time when the exposure was
made. The cylinder was still hot, with the result
that the hot air ascending from it caused all the
adjacent parts to be badly blurred. It is only
necessary to stand at the side of a fireplace, or
gas stove, and notice how the current of ascend-
ing hot air gives to all objects beyond the appear-
ance of motion to realize this.

The color of the machinery and the nature of
the paint used are also points to be taken into
consideration. It is common to give machinery
a first coat of lead-colored paint, and as this
has a dull surface it is much better for the pho-
tographer's purpose than the glossy, non-actinic
blacks, greens, and reds which are used for the
last coat, and better than the oil-stained raw
material. If this be pointed out to the person
in charge, arrangements can generally be made
to have the photograph made at that stage.

It will usually be found that all the bright
parts are smeared with oil. In itself this is
rather an advantage than otherwise, since it
helps to reduce the excessive contrasts, but the
irregular coating will certainly show in the
finished print and be an eyesore. A piece of
clean cotton waste should be used to remove the
irregular smears. Shafting and cylinders should
be wiped in the direction of their length, care
being taken not to introduce wave-like markings.
In wiping globular and irregular-shaped turned
work, the waste may be passed round the work,
when by pulling first one end and then the other
of the waste a regular appearance will be given
to the surface.

When all has been done to reduce contrasts
by diffusing the light, and to avoid halation by
backing the plates and adopting rapid develop-
ment, there are almost certain to be some defects
to be removed from the negative. Bright
patches of light will be reflected from angles and
globular parts of the polished work. These
must be rubbed down on the negative, and for
that purpose I find the mechanical reducer
introduced by Mr. Baskett is much better than
wood alcohol. The reducer is made by mixing
together a twopenny box of Globe polish,
2 ounces of terebene, and 2 ounces of olive oil.
The mixture is strained through a piece of fine
muslin and applied with the sharpened end of a
cork. It will readilv remove small, obtrusive

272

THE WORKROOM

high-lights. Larger parts are dealt with by using
the flat end of a cork.

Joints in the paper background may, of course,
be removed in the ordinary way, and if reflectors
and magnesium powder have been used to equal-
ize the lighting, the negative should require but
very little working up.

The Sulphide Toning of Bromide Prints

Processes of sulphide toning may be divided
into two general systems, one being distinguished
as direct, and the other as indirect. In the
former the toning is effected by the simple
immersion of the print in a solution in which it is
left until the desired result is obtained. Hypo-
alum toning is one such method, but this will be
treated later in a special article, and for the
present we shall only touch one one other direct
method. Indirect methods involve the use of
two or more baths, one of which is usually a
bleaching solution, and these methods being
perhaps more used than any others are generally
the ones meant when we speak of sulphide toning.

The First Essential

Whatever method is used, whether direct or
indirect, we must of necessity start with a good
bromide print as a foundation, and a print suited
to sulphide toning must have certain qualities
which are not necessarily essential in an ordinary
black tone print to be preserved untoned. There
is a considerable degree of latitude in bromide
paper, and a good black print can be produced in
several ways — that is to say, of two prints, each
good in its way, one may have received a brief
exposure and been developed up to its limit,
while the other has been exposed for a longer
time and development has been stopped before
it went too far. As they are, either print may
be quite satisfactory, but for sulphide toning
only the first one is of use in producing really
fine results. Properly treated, it will give rich
brown tones, while the other at the best will
only give poor, feeble browns. It is therefore
essential to adjust the exposure, in the first
instance, so that prolonged development up to
the limit will yield a satisfactory print. As
bromide paper develops rapidly in any case
three to four minutes may be looked upon as a
long time, and it is a safe general rule to adjust
exposure so that full development may be reached
in not less than three minutes. If it is necessary
to snatch the print out of the developer in two
minutes to save it, we can feel certain that the
print will be of no use for sulphide toning,
though it may make a very passable black
print.

It must also be remembered that a print of the
right quality can be produced only from a good
clean negative free from fog. A negative of the
kind that will either enlarge well or give a good
carbon print is the type to aim at. Thus if
sulphide toning is intended, we must keep the
fact in view from the very beginning of our
photographic operations if good results are to
be secured.

The General Toning Process

The most usual and most general process of
toning consists of first bleaching the print, and
then following with a solution of sodium sul-
phide. Many bleachers are available, but the
best and most convenient for general use is a
solution containing potassium ferricyanide and
either potassium or ammonium bromide. The
following is a good formula:

Ammonium bromide . . . 100 gr.

Potassium ferricyanide . . 300 gr.

Water . 20 oz.

The print is immersed in this, and when
bleached is washed for a minute only. It is then
covered with a solution of sulphide made as
follows:

Stock solution — -

Sodium sulphide (pure white

crystals) 4 oz.

Water 20 oz.

Take 3 ounces of this stock solution and make
up to 20 ounces for use.

A few seconds in the sulphide bath will give a
full brown tone, and then the print is well washed
and dried. The washing after fixing and before
bleaching must be very thorough, and some
workers claim that better tones are secured when
the print has been hardened in chrome-alum,
or when the chrome-alum acid fixing bath has
been used. It is advisable to harden in warm
weather, but whether the hardening really
affects the tone is somewhat doubtful.

Other useful variations concern the bleaching
process and the preliminary treatment. Soak
the print in water, and then immerse for six
minutes in a mixture of equal parts of 10 per
cent, ammonium bichromate and 10 per cent,
ammonium bromide. Rinse once or twice, and
then bleach in

10 per cent, ammonium bi-
chromate 5 oz.

10 per cent. ammonium

bromide ...... 5 oz.

20 per cent, potassium ferri-
cyanide 10 oz.

Ammonia .880 2 dr.

Wash and tone in the usual sodium sulphide
bath. The tone produced may be described as
cold sepia, which is a very desirable tone in
many cases.

A rich warm sepia is produced by adopting the
same method, but using as a bleacher the follow-
ing bath:

10 per cent, ammonium bi-
chromate 10 oz.

10 per cent, ammonium bromide 10 oz.
Nitric acid (strong) . .20 mm.

As before, we first soak in the bath of bi-
chromate and bromide, then rinse and bleach,
wash, and tone.

All these methods give quite distinctive shades
of brown, and form a useful series of processes.
Bright red tones may also be produced by
following the ordinary sulphide toning process
with a gold-toning bath. The following is a
recommended formula:

THE WORKROOM

273

Water 4 oz.

Ammonium sulphocyanide 40 gr.

Gold chloride 4 gr.

The print must be well washed between
sulphiding and gold toning, and it is as well to
follow the gold bath with a fixing bath of hypo,
finishing, of course, with another good wash.

Restoration of Badly Toned Prints

' Failure may result if an unsuitable bromide
print has been treated, or as the consequence of
using a nearly exhausted sulphide bath, and in
such cases the print can be restored by re-
bleaching in the following solution:

Copper bromide . . . . 130 gr.

Sodium bromide .... 2\ oz.

Water to 10 oz.

After washing, the image can be re-developed
with an ordinary bromide paper developer, and
the result generally will be a dark brown, though
sometimes a black image may be secured. If the
full original density is not reached, it is due to
the fact that an impure or much exhausted
sulphide solution containing hypo was used in
the first toning process, and in this case the
print is, of course, beyond restoration.

Liver of Sulphur Toning

We now come to a direct toning process that is
not very generally known, though we believe it
to be largely used in commercial work. The
print, after fixing and washing, is hardened in a
chrome-alum bath, then washed again for five
minutes and transferred to the following bath:

Liver of sulphur
Water .
Ammonia .880

1 dr.
20 oz
a few drops

The liver of sulphur should be dissolved in
boiling water, and the bath should be used at a
temperature of about 105° F. Toning is very
rapid, and the color is a very rich brown.

Hardening the film before toning is not always
necessary, but it is generally advisable, and the
simplest method of securing it is to use a chrome-
alum acid fixing bath instead of a separate alum
bath. It should be specially noted that the print
must not be dried between fixing and toning,
otherwise the toning process may hang fire and
only take place at a very high temperature. As a
rule, glossy or semi-glossy papers tone more
rapidly than papers of "ordinary" or matt
surface, which require a little longer time. If
the print is to be glazed it should be passed
through a chrome-alum bath before squeegeeing
down, as the hot bath softens the film very
considerably.

Failures
Failures in the matter of tone depend on con-
ditions already noted, the most usual cause
being the use of an unsuitable print. A very
common trouble is the appearance of blue
stains, which may result either from iron coming
into contact with ferricyanide contained in the
paper, or as the result of acid decomposing the
ferricyanide. To prevent such stains, the
ferricyanide should be as completely washed out

as possible after toning, special care being taken
with regard to the back of the print, which
requires as much washing as the front. Also if
the water is supplied through iron pipes, a tap
filter should be used to keep back iron specks
which will cause numerous blue spots. No acid
bath should be applied to a toned print, and the
mountant used should be free from acid, and
also should not contain any common alum, which
is often contaminated with iron as an impurity. —
British Journal of Photography.

The Amidol Developer

Among amateur workers the amidol developer,
except for bromide paper, does not appear to be
very popular. Among skilled users of bromide
paper it is undoubtedly — and quite rightly —
the most popular developing agent, but for nega-
tives it is not much in favor. The reason, no
doubt, is, in the first place, the very inferior
keeping qualities of the developing solution, and,
in the second place, the idea that amidol is not a
developer subject to modification, as advisable
at times. To the first objection there is, unfor-
tunately, no answer, or, at any rate, not one
which can be put forward for application without
exception. Amidol does not keep well in solution,
and for its proper action the developer should
be used within (at the most) two or three days
of making. On the other hand, the amidol
developer is quite easily and effectively modified
for dealing with under- or over-exposure, and
for producing negatives of a soft or contrasted
character.

Properties of Amidol

Unlike almost every other developer, amidol
works without addition of alkali, such as soda
carbonate, caustic soda, or ammonia. In fact,
it cannot be safely used with any alkali in the
formula, unless, of course, the alkali is neutralized
by some other ingredient. If distinctly alkaline,
the amidol developer yields negatives clouded
by chemical fog. By using a very small dose of
alkali and by exercising due care as regards the
time of development, the fog may be slight; but
it can easily be so great as to render the nega-
tive quite useless. Amidol, in fact, works in
admixture with soda sulphite alone. Addition
of further sulphite acts to some extent as an
accelerator, increasing the activity of the devel-
oper and bringing the action of the solution
nearer to the point at which fogging is produced.
On the other hand, very slight addition of acid,
usually in the form of an acid sulphite, has the
effect of greatly restraining the amidol developer,
prolonging the time of development, but, at the
same time, yielding negatives remarkably free
from any kind of development fog. In France
particularly the so-called acid amidol develop-
ment has found enthusiastic advocates, although
opinions differ as to the practical advantage of
this form of the developer. Two kinds of
restrainer can thus be used in the amidol
developer, one potassium bromide, used in the
ordinary way, and the other an acid solution of,
say, citric acid of 10 per cent, strength, or a
solution of potass-metabisulphite or acid sulphite
of soda.

274

THE WORKROOM

Making the Developer
Although the amidol working solution does not
keep, the fact presents really very little obstacle
to the regular use of the developer. It is neces-
sary, in order to obtain the developer in the best
working condition, to add the amidol dry at the
time of use, employing some small measure,
such as a tiny spoon or capsule, or a small glass
tube, to measure the quantity required for 5,
10, or 20 ozs. of the developing solution. The
only other ingredient of the developer is soda
sulphite, which may conveniently be kept in a
10 per cent, solution, so that the normal amidol
developer is made up as follows:

Amidol 20 gr.

Soda sulphite, 10 per cent.

solution 5 oz.

Water 5 oz.

Potassium bromide may be added in quantity
from \ gr. (5 minims of 10 per cent, solution)
per oz. of the working developer as found neces-
sary for the particular brand of plate which is
being used. It should be borne in mind that
amidol does not work well with old sulphite
solution, and sometimes one comes across sul-
phite which yields foggy results in conjunction
with amidol. But with sulphite of good quality
the stock 10 per cent, solution will keep in con-
dition for several weeks, that is for the develop-
ment of negatives. For bromide prints where
the color of the image is a most important part
of the result, it is practically a necessity to use
not only a freshly made solution of the amidol
in sulphite, but also to employ a solution of
sulphite itself which is not more than two or
three days old. The developer made up accord-
ing to the formula given above yields negatives
of rather softer character than the normal within
about five minutes' time of development. For
greater contrast development requires to be pro-
portionately longer; but amidol is a developer
which is kind to the photographic plate as regards
absence of fogging propensity, while the absence
of alkali in the composition of the solution is a
feature which recommends it to many workers
who dislike the action of alkaline baths on the
fingers. For softer negatives, or for cases of
under-exposure, the best course is to dilute the
developer with half its bulk or twice its bulk of
plain water.

An Amidol Stock Developer
Although, as I have said, the sulphite solution
for amidol requires to be used within a com-
paratively short time of making, yet the special
variety of stock sulphite solution, used for the
"B. J." formula for pyro-soda, serves well for
amidol also. I gave the proportions in my article
of a fortnight ago, but repeat them here: 4 ozs.
of soda sulphite and \ oz. of potassium meta-
bisulphite are dissolved in 20 ozs. of water. The
water should be moderately hot; the sulphite
should be dissolved first, then the metabisulphite,
and the solution then preferably brought to the
boil, though this latter is not absolutely neces-
sary. This solution itself keeps remarkably
well, and is used in the same way as a 10 per cent,
sulphite solution for compounding with the dry
amidol. The proportions, however, are:

Amidol . . . . . 20 to 30 gr.
Stock sulphite-metabisul-

phite solution . 2 oz.

Water, to make . 10 oz.

This working developer is somewhat slower in
action than the normal formula, but it keeps in
good condition for, say, a week. As it can be
used repeatedly it is a more convenient and
economical form of the developer. .

Acid Amidol
Just as the formula last given acts more slowly
from the fact that the slight alkalinity of ordinary
sulphite is neutralized, so a still slower developer
is produced by addition of small quantities of
weakly acid substances, such as potassium
metabisulphite or acid sulphite of soda. I can-
not say that I have had any great experience
of this form of the amidol developer, but so
many workers have written in praise of it, and
particularly of the absence of any fog when it is
used, that I ought to refer to it here. It should be
said, also, that a developer of this form has been
found excellent for plates which, from their age,
have been found liable to fog with other
developers. I hesitate to give a formula, since I
see that very widely different formulae have been
given as satisfactory by other workers. My
readers can, perhaps, do best by taking the
second formula that I have given in this article
as a basis and further adding to the working
solution at the time of compounding the
developer for use a small quantity of potassium
metabisulphite. You can make a solution of
this salt of, say, 5 per cent, strength — that is,
1 oz. in 20 ozs. of water. Every 20 minims thus
represent (nearly enough) 1 gr. This solution
is used instead of part of the 8 ozs. of water given
above. In this way potassium metabisulphite
may be incorporated in the working developer
up to a maximum of 190 grs. — say, 20 grs. per oz.
This, so far as my own limited experience has
gone, is a very large amount indeed, and enough
to make development an impossibly long opera-
tion. I should say that 1 to 3 grs. per oz. of
additional metabisulphite is as much as can
usefully be made — that is, from 3| to 10 drams
per 10 ozs. of working developer.

Stains
Amidol, it should be said, is not innocent of
causing stain on the negatives. The yellow stain
which at times is produced is the result in most
cases of staleness of the solution, or of bad sul-
phite in making up the developer. Unfor-
tunately, the developer does not show by any
color of the solution itself that negatives will be
stained. Moreover, the stain is a very persistent
one and does not yield very easily to such
customary remedies as acid chrome alum solu-
tion. But with ordinary care in working stained
negatives are very exceptional. On the nails
and fingers, however, the stain is fairly common,
and again a difficult one to get rid of once it has
appeared. The best preventive is to keep at
hand a basin containing plain water made acid
with a few drops of strong nitric acid, dipping
the fingers into this and then rinsing them in
water after contact with the developing solution.
— British Journal of Photography.

THE WORKROOM

275

Tear Marks

A blemish on a negative, which looks precisely
as though a distressed worker had let a tear fall
upon it, is not usually due to this, but has its
origin in drops of water allowed to remain on the
surface of the gelatin when the rest is surface
dry. The result is that in those parts the film has
taken a much longer time to dry than elsewhere,
and in consequence the density is not the same.
There is no remedy for a tear mark when once
it has appeared, except careful retouching; but
such marks are easily avoided by giving a glance
at the negatives after they have been put up to
drain for a few minutes. If a drop has formed it
can be removed by a sharp swish to the plate,
or a clean folded handkerchief may be used to
wipe the whole surface. There is no risk of
injury if it is done gently. — Photography.

How to Strip Broken Negatives

One of the tasks which confront the photog-
rapher occasionally only, and therefore are not
likely to find him very familiar with any method
of dealing with them, is the removal of the
film from a negative the glass of which is broken
or cracked. It is easy enough to get the film off
the glass; but it is not so easy to do it in such a
way that it will give an undamaged print. A
little trouble must be taken, though very little
skill is called for.

The film of gelatin which holds the image on a
glass plate is an extremely thin one; so thin
that without the glass to support it it would be
quite unmanageable. When it is to be stripped,
therefore, it must be provided with some kind
of reinforcement, which will give it the required
substance. This is best done by means of
collodion and gelatin, as will be described.

Before any other operations are put in hand,
if the glass is broken, or if there is any chance of
the crack progressing so as to cause a complete
severance, accident to the film from such a thing
must be prevented. To do this, another piece
of glass the same size, or larger, is taken, and
upon it two or three spots of Canada balsam
are placed, their position being governed by the
pieces into which the negative has been divided
by the fracture.

The negative is laid on this, film side upward,
and the whole placed in a warm oven (not hot)
for half an hour or so. This will have softened
the balsam, and the weight of the negative will
have flattened it out; so that if the two plates
are put aside, in a horizontal position, until the
next day, they will be found adhering to each
other well enough to be freely handled.

Plain or enamel collodion is then required.
An ample pool of it is poured on to the middle
of the film side of the negative, which is then
tilted so that the collodion flows into each corner
in succession. When it reaches the fourth, the
angle of the plate is held over the mouth of the
bottle, and the negative gradually raised so that
the surplus collodion flows off into the bottle
again. When the continuous flow ceases, the
negative is raised to the vertical position on a
piece of card or paper, still with that one angle
lowest, and is rocked on that point from side to
side for a minute or two, to prevent the coating

from setting in ridges. It may then be put on
one side, out of the reach of dust, for the collodion
film to get perfectly hard and dry, which it will
do in an hour or so.

A solution of gelatin may in the meantime be
prepared by soaking forty grains of any plain
white gelatin in cold water until it is thoroughly
limp, adding half an ounce of water to the jelly-
like mass, and placing the vessel containing it
in another which has been filled with very hot
water. The gelatin will soon liquefy, and, if it
is not then quite clear, may be strained through
a piece of cambric, such as an old handkerchief,
into another vessel, also standing in hot water.

The plate is then supported on a level surface
and coated with the gelatin on the top of the
collodion. An easy way of doing this is to place
three drawing pins points upward in a triangle,
adjusting them with paper or cards underneath
them if necessary, so that a piece of glass laid
upon them will be level when tested in all
directions.

On the points of these pins the plate is placed;
an ample pool of gelatin is poured in the middle
of it; it is tilted so that the liquid flows all over
the surface — if some is spilt it does not matter—
and is then left on the pin points for a few minutes.
When the gelatin is no longer liquid, the plate
may be stood up on end and left for a day or two
for this second layer to get thoroughly dry.

All this may seem to be a lot of trouble; but
the operations do not take very long and are not
elaborate, while the good results of them are
soon apparent. The negative s ready for
stripping when the gelatin is thoroughly dry.
Four cuts are made with the point of a knife,
guided by a straight edge. They should go
right down through the film to the glass, and
should be about an eighth of an inch from the
edges of the glass. The negative is then placed
in a solution of one part of formalin to nine parts
of water for half an hour, in order to toughen
the film of gelatin, so that it may stand the
handling. After this it is washed for a few
minutes under the tap and placed in the stripping
solution.

Very dilute hydrofluoric acid is the stripping
agent. It is one of the few substances which act
quickly on glass, and, by destroying the surface
of the glass, it liberates the film of gelatin. The
acid is very corrosive. It cannot be kept in
glass or earthenware bottles; but is supplied in
vessels of rubber or of lead. The fingers must be
kept from contact with it, as it attacks the skin.

A xylonite dish — this material being unaffected
by the acid — may be used for stripping, and in
this should be poured a little of the acid, which
is at once diluted with about twenty times its
bulk of water. The acid need not be measured,
a little more or less is unimportant; it is best to
use at least as much water as just stated.

Placed in this, the plate may be left for four
or five minutes. At the end of that time a piece
of wood cut to a flat edge like a chisel may be used
to see if the film can easily be separated from the
glass. If not it must be left a little longer. If
it can, the acid is poured off and the dish filled
up two or three times with water. Then the
film may be gently peeled off until it is floating
free from the broken glass. Thanks to the

276

THE WORKROOM

coating of collodion and gelatin, it will have
plenty of substance, and there will be no fear of
tearing it. It is transferred to a clean sheet of
ferrotype, drained, and when it lies firmly on the
sheet may be put aside to dry.

When dry the film will either strip off quite
readily or it may have to be peeled off. There
is no need to mount it on glass. In its present
form it is tough enough to handle and store, has
no very marked tendency to curl, and can be
printed from either side, just like a celluloid
film. If it is preferred to have it on glass, it may
be floated on to an unexposed plate, which has
been fixed and washed, and may be allowed to
dry upon the film of clean gelatin which such a
process leaves. — Photography.

Copying Faded Prints

In the ordinary routine of copying, the usual
correct result to be aimed at is to obtain a
reproduction as near as possible alike as the
original copy, although in many cases many
try to improve upon it. In the forthcoming
remarks, it is proposed to show how it is possible
to obtain a bright, crisp print from a very flat
copy by the use of chemicals. It does not
necessarily follow that the copyist must perform
all the various processes mentioned below in
obtaining the desired result (in fact, it would be
a sheer waste of time, work and material to do
so); but I wish to show the latitude there is in
the after-treatment of weak copy negatives.

In the first place, the exposure has to be con-
sidered, which, when the copy is weak, is usually
as short as possible, and the negative forced
up in development so as to get it as bright as
possible. But really in this case the plate
should be over-exposed to a certain degree,
and then developed to infinity, the denser the
better. After the platq has been fixed it should
be put (without previous washing) into a very
weak solution of potass ferricyanide and hypo.
As generally known, potass, ferricyanide, when
used in a weak solution, always acts on the
shadows first, and so, if the negative is fairly
dense, it can be reduced (to a certain extent)
without losing any detail. After this, if the
negative is not bright enough, it can be (after
washing) intensified in the ordinary way. By
this stage a fairly good print should be obtained.

Presuming the original is very weak indeed,
the print can still be improved upon. For
instance, if the negative is not too dense it can
be put into the enlarger and printed (the same
size, of course) on hard paper, or even the
harder grades, if a powerful light can be obtained.
This would make a great difference as com-
pared with an ordinary print made by contact.

It matters not how flat or yellow the original
may be, a hard reproduction can be obtained.
For one thing, a positive can be made and then
a new negative made, both these being intensified
and treated as already described. One advan-
tage of this method is, if the copy is for enlarging
and the original negative is inclined to be a bit
dense, a new thin negative suitable for enlarg-
ing can be obtained. — F. J. W., in British
Journal of Photography.

Steaming of Bromide Prints

The steaming of bromide prints puts prac-
tically a new surface on the paper. Regular
bromide workers make good use of this dodge
to cover up traces of hand work. When a print
has been worked up, by strengthening some
parts with pencil, and rubbing down other parts
with typists' india-rubber, the surface is anything
but attractive. The way to produce a more
pleasing effect is to let the steam from the
domestic kettle play on the surface of the print.
This partly melts the gelatin coating and allows
the hand work to sink in. The steaming must
be done carefully. On no account should the
print be held nearer than six inches to the spout
of the kettle, and it must be kept moving all
the time so that the steam may act evenly all
all over the surface. If one steaming is not
sufficient the print should be allowed to dry
before the second attempt is made. It should be
pointed out that, where prints are worked up
with broad masses of water color, the steaming
dodge is not so effective. — The Professional
Photographer.

Blue Tones on Developing Papers

With reference to suggestions for obtaining
blue tones on developing-out papers, we have
found that the following formulae give very good
results. First, bleach the print in —

Water 10 oz.

Potassium ferricyanide . . 100 gr.
Ammonia water (28 per

cent.) 100 min.

After bleaching, wash well and tone in the
following bath, rocking constantly:

Water 10 oz.

Ferrous sulphate . . . 100 gr.
Hydrochloric acid c. p. . . 50 min.

An alternative toning bath is as follows:

Water 10 oz.

Ferric chloride .... 220 gr.

After toning, wash free from stain, and it is
desirable to immerse the print for a few minutes
in a 10 per cent, hypo solution containing 50
grains of boracic acid to every ounce of solid
hypo.

The above method has not much tendency to
stain the high-lights, although with all the iron
toning processes there is always some slight
tendency to veiled high-lights. Usually the stain
in the high-lights can be removed in the washing,
particularly if the water is used a little warm.
We have had a good deal of success in obtaining
a pure brilliant blue-print without the slightest
veiling of the high-lights by toning with gold.

The following formula is a good one:

Ammonium sulphocyanate 20 gr.

Water 1 oz.

to which add :

Gold chloride ..... 2 gr.

Water 1 oz.

THE WORKROOM

277

The print is immersed in this bath and toned
until the desired blue is reached.

The drawbacks of the above process are the
length of time occupied in securing the tone,
and the comparatively high cost.

We think that if the iron method recommended
earlier in this letter is used, there will be no
serious trouble with stained high-lights. — Ansco
Research Laboratory.

Small Enlargements

It is a popular idea with many photographers
that an enlarging lantern is of no use unless for
the production of pictures of some size, something
larger, at all events, than the humble 2>\ x 4|
or 4 x 5's that the ordinary man secures with
his camera.

It never occurs to these workers that enlarge-
ments of the same size as their negatives would
often — more often than not — give them pictures
more pleasing to the eye of the man in the street
and more pictorial from a photographic point of
view than contact prints from the same negative.
Yet such is the case.

The expression "enlargements of the same
size" sounds paradoxical; but it is correct.
What is meant is that the enlargements have the
same surface measurement as the negatives, but
that only a small portion of the latter appears on
the paper on which the enlargement is being
made. Thus, from a quarter plate negative we
may select a piece the size of a postage stamp
and make a quarter-plate picture of it.

The reader who asks what is the sense of that,
has not yet realized the fact that many of his
3| x 4| plates contain a wealth (or perhaps
"abundance" is a better word) of detail which
precludes all possibility of a contact print being
in any sense a picture. There are perhaps three
or four objects on the small negative, each of
which competes with the others, and not only
robs them, but is robbed by them, of the con-
centration of interest without which pictorial
photography is impossible. If, however, instead
of one print with four objects of interest, each
asserting itself to the detriment of the others,
we make four enlargements, one of each of those
objects of interest, it may be that we shall have
four pictures.

The idea of getting four pictures from one
3j x 4| negative may seem rather far-fetched,
and, to prevent anyone running away with the
notion that a photographer should be able to get
four pictures from one small negative, perhaps
it should be mentioned that the suggestion of the
"four-in-one" negative is used mainly for the
purpose of emphasizing the point. The four
pictures is not an impossibility, but more prob-
ably our quarter-plates will give us only one
picture, which means that most of what went to
make up the negative is useless pictorially; that,
in fact, if when we were exposing the plate we
had selected a small part of the view and had
placed our camera nearer to it, or had used a
lens of longer focus, we should have got all that
was necessary or desirable. That is so, and we
should also have been saved the trouble of
enlarging at all. Unfortunately, however, the
faculty of selection is not always so marked when

we are exposing our plates as it is when we have
the negatives before us; hence the use of a small
enlargement of a small part of a negative.

Exercising the faculty of selection in this
manner will also be of assistance when the
worker aims at something larger than enlarge-
ments of the size indicated. If you submit a
print to a critic and ask what is wrong with it, he
will probably tell you that it wants trimming;
and if you trim off a considerable portion and
again ask what is wanted, as likely as not you
will be told that it wants considerably more
trimming. By the time you have applied the
knife or scissors your print, originally 8 x 10,
may be reduced to something about half-plate
size. At that, however, it will probably be a
picture, whereas the 8 x 10 print was merely a
photograph. If, however, you had been able
from your small negative, or from a contact
print from it, to select exactly the bit which,
when enlarged, would make the picture, you
might have proceeded straightway to enlarge
that bit on to a piece of half-plate paper, which
would have been cheaper.

Of course, the advanced worker may tell you
that the faculty of selection can be best exercised
only when the enlarged print is before you. But
we are not all advanced workers; some of us —
most of us, indeed — are merely workers striving
today to do something which is better than that
which we did yesterday, and buoyed up with the
hope of eclipsing today's work by that of to-
morrow. And it is humbly submitted that what
we have called the "small" enlargement will
be of considerable assistance in bettering our
work.

It may be urged, however, that small enlarge-
ments will assist even the advanced worker.
Many a big enlarged bromide print has been
made with the only result that it has served to
show the maker that there were absolutely no
pictorial qualities in any part of his negative;
and perhaps, with this knowledge gained, he has
felt that his expenditure of time has not been
wasted. He may not feel the same, however, as
regards his expenditure of money; and that he
might have saved to a large extent by carefully
studying a contact print from his negative. From
that study he could surely have narrowed the
pictorial possibilities of his negative down to,
say, one part of it; and a quarter-plate enlarge-
ment of that one part would have been just as
illuminative as, and infinitely cheaper than, his
big enlargement of the whole negative.

Do not imagine, therefore, that large prints
are the necessary complement of an enlarging
lantern. Small enlargements may be pictures
in as great a degree as large ones.

And at the very worst they are very much
better than contact prints, unless in those rare
cases when we have been unusually careful, or
lucky, in our selection of what to include in our
negatives.

Bromide Vignetting

There is generally more or less difficulty about
vignetting bromide prints, and moreover in most
cases not only is it difficult to produce nice soft

278

THE WORKROOM

results, but it takes a good deal of time to adjust
the shape to the print.

As these are very much alike in shape and
size it is a waste of time to have to make new
shapes for each separate portrait, and one can
cut a series of say about three different sized
shapes for each size head that is normally in use.
That is to say, three slightly different sized
shapes about cabinet size and three about carte
size and so on.

The chief and most important point is to
scheme things so that the shape is held in any
desired position to suit the placing of the head
in the plate, and that it shall be a good distance
away from the front of the frame so that the
result will be nice and soft, and to allow the
edges of the vignette to be well diffused.

In order to do all these things and do them
speedily, I have for some time employed a special
frame that I have made for this purpose.

I have taken an ordinary half-plate frame, and
discarded the springs and back, and on the front
of it I have fixed a plain piece of ground-glass.
Then on top of this ground-glass on the front of
the frame I have fixed a raised square of wood
about half-an-inch high which is for the purpose
of keeping the vignetting shape at a good distance
from the negative.

At the top and bottom of this raised wooden
front I have fixed two pieces of wood across
the frame, screwed on at each end, but with the
middle free so as to allow a thin piece of card
to be slipped through easily.

These thin pieces of card are the various
vignetting shapes that I have carefully cut for
this purpose.

In making these I obtained some extra strong
but pliable art mounting papers, those that are
sold as real vellum faced and are about two
sheets in thickness. These were chosen as being
more able to stand hard wear and less liable to
break and rub.

Then openings were cut in these about the
various sizes that are of most use to me in my
own work, and in cutting these vignettes care
was taken to make the teeth rather longer and
finer than is generally the case, as this tends to
soften the result and gives a more pleasing
picture.

In use a great deal of difference can be made
to the limits of the vignette if these teeth are
manipulated by simply bending some of them
back where it is desired to modify the results.

They should be turned outward away from
the frame where it is desired that the vignette
should spread more, and can be bent inward
toward the negative where it is desired to pre-
vent the spreading or to hold some part back
in printing.

The actual shape should be made on a rather
large piece of paper quite as broad and a little
longer than the frame itself, so as to be moved
about in position and thus be easily adjusted to
any part of the negative, and allow for any
different placing of the image on the plate.

In order to save the necessity of making a
separate frame for smaller prints and negatives
I have simply fitted a smaller negative carrier
to this frame to take the smaller sized plates,
and then, of course, smaller cut shapes are used.

A great deal depends upon the nature of the
light in getting soft results, and any kind of
naked light should be avoided if possible.

In my own case I have a single 32 candle
power electric light that is placed about 18 inches
from where the printing frame rests on the
printing machine, and in all my vignette work I
am careful to have one of the two diffusers that
I have down so as to get a soft and even light.

Softer results still can be obtained if desired
by simply keeping the frame moving about a
little during the exposure, but this not only causes
some little inconvenience, but at the same time is
not conducive to regular and equal results, as a
slight difference in the position that the frame
is held for each print will make a difference in
the printing shape of the vignette.

It is, therefore, a better and more regular plan
if softer results are wanted to place an extra
piece of diffusing material directly on top of the
shape itself, and this can be done by simply
sticking a piece of semi-transparent paper on the
shape itself, the thin transparent paper that nega-
tive bags are made from is just right for this
purpose.

Working in this way there never has been
any difficulty in obtaining soft and good results
even from pictures taken against a dark back-
ground, although it should be remembered that
when vignetted portraits are being made it is
advisable to employ a background which is quite
light in its tones, although not a plain white one
such as is used for sketch portraits.

The cardboard shapes will stand a great deal
of wear and tear in use and should be kept
hanging up on nails close to the working bench
so that they can be seen easily, and one will, after
a very little practice, get to know just which one
will be needed for any desired result and any
negative.

My own shapes have been in constant use now
for at least three years and are still as good as
new.

I am sure that all who have many vignettes to
print will find that not only will their results
be more certain and easy to obtain, but that a
great deal of time will be saved by this simple
method. — H. Essenhigh Corke, in Bulletin of
Photography.

Enlarging Single Figures from Group Negatives

It frequently falls to the lot of most photog-
raphers to undertake the enlarging of a small
head or single figure which is contained in a nega-
tive or ordinary print and is surrounded by other
figures, such as are commonly seen in groups, and
it often happens that such figures, by reason of
their surroundings overlapping part of the same,
cause no small amount of difficulty to a photog-
rapher when attempting to extract the figure for
the purpose of future enlargement.

In all cases where the original negative is
obtainable, there is no question as to the advan-
tage of working on the same in preference to
endeavoring to gain similar ends by manipulating
a print made from such negative; but it often
happens that the original negative is not forth-
coming, and then there is no alternative but just

THE WORKROOM

279

to do the best with what material exists, such as a
simple silver print.

Work of this description, as a rule, is seldom
required from pictures that have been made
within a recent period, but almost invariably falls
to be conducted from photographs taken many
years previously, and which are printed on albu-
minized paper, the texture of which is far more
liable to offer difficulties than would be the case
where they are printed on the more modern
samples of Aristo or highly glazed gelatin or
collodion surfaces.

A striking example of this sort of work has
recently come under my observation, and which
has proved of considerable interest in more ways
than one. In the first place, the picture in ques-
tion was made by means of wet collodion so far
back as the year 1865. This was printed at the
time on a sample of single-albuminized paper,
and, notwithstanding that this silver print has
been subjected to the usual exposure in a family
album, at the present moment it is absolutely free
from any symptoms of fading, and is a strong
proof of the permanency of a well-executed silver
print by means of single-albuminized paper.

So far back as the year 1865 the taking of
groups, especially inside studios, by means of wet
collodion was generally done in small dimensions,
and therefore each of the figures (or faces, rather)
is very small in the picture to which reference is
being made; these probably do not exceed a
quarter to three-eighths of an inch, the whole
group of eight people being printed in carte-de-
visit e size.

We hear a good deal nowadays against the
permanency of pictures printed by means of
silver. Yet here is an instance where a print is to
all appearances as fresh today as it was forty-five
years ago, and is a striking tribute to the work
turned out by the photographer whose name
appears on the back of the card.

Somewhat recently the writer had the good
fortune to spend a pleasant time with one who is
now without doubt the oldest photographer in the
west of Scotland, and who was an intimate friend
of the brothers Mactear, and worked alongside of
them in the very first days of daguerreotype and
wet collodion. When speaking on the question of
permanency, this gentleman remarked: "Oh, be-
fore double-albuminized paper was known, fading
was never thought about." But with its intro-
duction a sad change was brought about, and he
can now point to proofs innumerable of his
assertions, maintaining that all his prints dating
back from the earliest days of silver printing are
quite permanent, but those printed in after years
seldom stood at the outside beyond six or seven
years at the best.

There is no doubt, however, that the grain of
the paper is liable to cause more trouble when
such small heads have to be enlarged from prints
on single-albuminized samples, and to avoid this
grain, when work of this description has to be
done, several methods have from time to time
been advocated. One of these is to apply to the
surface of the print a coating or wash of water-
color pigment, blocking out all the surroundings
of the head it is desired to extract. Ivory black
and Chinese white are, when mixed, suitable pig-
ments to employ for this purpose, any depth from

black to a light gray being easily obtained; the
application of such a pigment to the face of a silver
print will, with care, cause no injury, and, even in
cases where the object or head is very small in
size, there is no difficulty to trace round the out-
lines of the face with the aid of a finely pointed
sable pencil. When this first operation has been
successfully accomplished, a negative, in slightly
enlarged form, is made in the usual way, and this
is subjected to a very thorough retouching, which
will, if properly done, get rid of any coarseness
which is almost certain to manifest itself. En-
largements made from negatives produced in this
manner yield good results when finally worked up
in black-and-white.

Another method which also yields excellent
results is sometimes possible of accomplishment,
having the further advantage of not requiring the
application of any pigment to the surface of the
print. This is done by providing a cut-out mask
that just fits nicely around and suits the shape of
the head that is being extracted; but how is any-
one to provide such small-sized masks as from
three-quarters of an inch or thereabouts? Such
masks are certainly not a marketable commodity,
but larger sizes are, and any stock of lantern
masks can be utilized for the purpose. When it
is desired to mask off, say, the head and shoulders
of a figure in a group, a lantern oval mask having
a white surface on one side must be procured; any
dealer will supply them in various shapes, and,
having obtained one that just suits the shape
required, it should be placed against a piece of
black velvet and pinned to a board — the white
side out, of course; this is then photographed in
reduced size on a slow plantern late, and, if a
small stop be used and the plate backed and
developed properly, a negative will be produced
having clear glass in the centre of the oval, and
sufficient density around it to enable its being
superimposed on the glass side of the negative
which has been made from the paper print, and
which it is intended to employ in the final
enlargement.

In copying the paper print, much may be done
to keep back the grain of the paper by so placing
the picture in the best light for the purpose.
This may mean using a somewhat direct source of
lighting, but in nearly every case it will be more or
less noticeable, and the negative, therefore, has to
be skilfully retouched. In saying this I am quite
cognizant that there are those who dispute re-
touching in every shape or form, but my experi-
ence has taught me this, that anyone who has to
cater for the public taste and to earn his bread
and butter by means of photography cannot do
without practising it in nearly every subject and
branch of work, and I should like to know what
professional can honestly say he never resorts
thereto.

The fact is, modelling is an absolute necessity
in nearly every branch of photography, and espe-
cially is this the case in the work referred to, and
not only must the modelling be applied to the
negative, but the final enlargement will also be
most wonderfully improved by its aid.

It has been said that, in all cases where the
original negative is obtainable, it is much to be
preferred that it should be employed instead of a
print from it. Of course, there will be no need

280

THE WORKROOM

for anything like the same amount of modelling
when the original negative is available, and very
probably no retouching of any kind will even be
required; all that is necessary being the provision
of some means to shield off objectionable sur-
roundings to the head, and even in this event the
work can be accomplished without manipulating
the negative at all. In many cases this is the
most desirable method to follow, simply because
it does away with any tampering with an original
and very possibly a highly-prized negative, so
that, in cases where the masking can be effected
on the surface of the enlargement, it is better to
arrange for it than to do so on the face or glass
side of the negative.

To mask out objectionable surroundings to an
enlarged head is by no means a difficult operation
when proper materials are at hand for the purpose
and the system employed in enlarging permits of
it. In large sizes, special cut-out masks will be
required, but in smaller sizes an ordinary paper
cut-out mount may be employed, provided the
edges of the cut-out are true, so that, having
selected the cut-out aperture which suits the size
and shape of the head and shoulders of the figure
when it is projected in enlarged form on the
copying board of the easel, and having carefully
adjusted the focus of the enlargement, the sensi-
tive paper is placed in position, and by means of
the non-actinic cap of the lens the image is pro-
jected on the same. The mask is then fixed in
position over the sensitive paper and the exposure
made in the usual manner.

The services of a good printing-frame may be
utilized for holding the paper and cut-out mask
in situ, and when the enlarging is accomplished
by daylight it is easily slipped into its proper
position on the easel, and much comfort is ex-
perienced in executing enlargements in this
manner.

The vignetting of enlarged heads can also be
accomplished by employing a suitable cut-out
mount between the lens and the sensitive paper,
arranging this at the proper distance in front of
the easel, and, when the form and other condi-
tions of the negative permit of vignetting being
resorted to, there is no doubt it is a very desirable
method to follow. It must be borne in mind,
however, that a few simple attachments will be
required to hold the vignetter in situ during ex-
posure. This may mean merely tacking the cut-
out mask to a lath or flat stick, and nailing it on
some support that will hold it steady during
exposure, and the nearer ' it is placed to the
sensitive paper the smaller the circle of light, and
vice versa. But this is easily judged by pinning a
sheet of white paper in the position the sensitive
material is to occupy.

In using glass shields made in the manner
suggested, by copying white masks on lantern
plates, the utmost care will be required to obtain
absolutely clean, clear results, and if on develop-
ment of the plate it is seen that the black velvet,
from overexposure, has caused a reduction of the
sensitive emulsion at those parts, the negative
should be treated to a local application of some
reducer whereby such deposits are removed.

These glass shields are very useful, especially in
cases where several enlargements are required
from the same negative. By using these shields

attached to the glass side of the negative every
enlargement is produced in exactly the same
form, and if the same treatment is accorded each
in exposure and development, there should be no
appreciable difference between any of the results
obtained by this method of shielding. With
some of the other methods it is not so easy to get
a number of enlarged prints all alike.

The Influence of Potassium Bromide in the
Developer on Sulphide Toning of
Bromide Prints

It is well recognized by now that the initial
development of the bromide print plays the
most important part in the production of a good
sepia tone on subsequent sulphide toning. It is
agreed by most people that development should
be thorough, in fact, it has been urged that nothing
short of development to the limit will ensure a
good sepia tone afterward ; this, as shall be shown
later, is not necessarily true.

Again, it has been often pointed out that one
of the most common causes of poor yellowish
tones is that of using the same developer over
and over again, even though the amount of
developer is quite sufficient for the area of paper
used. For instance, if ten quarter-plate prints
are developed in two ounces of normal developer
on end, it will be found on toning that the first
prints developed will tone to a good sepia, while
the last ones developed will result in yellowish
sepias. This result has been ascribed to the effect
of the bromide set free in development from the
silver bromide being reduced to silver. This,
however, is not so, but the poor tones appear to
be the result of oxidation products of the reduc-
ing agent used, e. g., amidol, metol, rodinal, etc.
That they are not due to bromide is shown
by the fact that if bromide of potassium is added
to the fresh developer in fairly large quantities,
and the prints are developed fully, the resulting
sepia tones will be found to be much colder than
normal, and not warmer than those produced
on prints developed to the limit with normal
developer only slightly restrained. In fact,
with the latter, directly development is stopped
short of the limit, there is a change in the direc-
tion of yellow sepias on toning. With the heavily
restrained developer (formula given later) this
is not so, and unless development is stopped very
early, the resulting sepias will always be good,
although they vary, of course, with the length
of development. Moreover, the black and white
prints before toning are likewise of good quality.
The main point to be insisted upon is, to always
use fresh developer; it will be found that if the
paper is soaked before development, a minimum
quantity of developer is needed; a convenient
rule being, divide the area of the print in square
inches by sixty, this will give the quantity
needed in ounces; thus a 12 x 10 needs 2 ounces,
a 5 x 4 prints | ounce, and so on.

The following tables will show the matter
more clearly:

Normal Developer

Amidol 2 gr.

Cryst. soda sulphite, ... 20 gr.

Potass, bromide, 10 per cent. 2 min.

Water 1 oz.

THE WORKROOM

281

Restrained Developer

Amidol 5 gr.

Cryst. soda sulphite ... 20 gr.

Potass, bromide, 10 per cent. 50 min.

Water 1 oz.

The exposed prints were made behind a
gradometer, made in the usual manner of steps of
translucent paper, numbered from one to thirty.

Wide-angled Views

Oxe would have thought that by this time
most photographic workers must have become
acquainted with the conditions that Droduce
true perspective or that cause an appearance of
distorted perspective, but even in such an
excellent paper as that by Mr. H. A. Gatchell
on "Photographs for Reproduction," which we

Steps from

black to

Developer.

Strip. Exposure. • 1

ime of de\

■elopment

white.

Color on toning.

"Normal"

F 30 sec.

min.

(limit)

5—21

Good sepia.

H 30 "

?— 19

Yellow sepia.

Restrained

A 60 "

3—18

Yellow sepia (like H).

B 60 "

6—19

Good sepia (like F)

C 60 "

7—20

Cooler sepia.

D 60 "

8—21

Cooler sepia still.

E 60 "

9—22

Cold sepia.

With another bromide paper the results

kvere

as follows:

Steps from

Time of

black, to

Developer. Strip.

Exposure. appearance

development.

Factor.

white. Color on toning.

'Normal" A

120 sec. 8 sec.

3
4

min.

1 — 23 Yellow sepia.

120 " 8 "

3 — 23 Very warm sepia

120 " 8 "

4 — 24 Warm sepia.

120 " 8 "

' (limit)

5 — 24 Good sepia.

Restrained F

120 " 30 "

? — 18 Yellow sepia.

120 " 30 "

2 — 21 Warm sepia.

120 " 30 "

3 — 22 Good sepia.

120 " 30 "

4 — 23 Cool sepia.

120 " 30 "

5 — 24 Cold sepia.

The longer times of development were due in
this last table to the use of a slow developing
bromide paper on a cold day; the water of the
developer could have been decreased with
advantage.

It is interesting, too, to note that with the
restrained developer the latitude of the paper is
very much increased; for instance, in the first
table strips Nos. B, C, D, E, show a constant
contrast of 13 steps from black to white; that is
to say, by exposing the print behind a negative
for a longer time, and developing for a snorter
time, one will get precisely the same print, as
regards contrast, as by exposing for a shorter
time and developing longer; this, of course,
within the limits shown in table. Moreover, the
black tones in these four strips were perfectly
pure. This holds good for the second table also,
for the strips G, H, K, L, show a constant con-
trast for 19 steps, this bromide paper being much
softer under this treatment than the former.

The proportions of the developer are important,
for it must be remembered that sodium sulphite
is a weak alkali, while amidol is acid, and when
it is added to the sulphite solution there is an
interaction which can easily be detected by the
odor of sulphurous acid given off. In the second
formula the proportion of amidol to sulphite is
much increased, that is to say, the developer is
less alkaline. It is then more amenable to the
action of potassium bromide, which then gives
the latitude mentioned above, for if added in like
quantity to the first formula, it slows development
rather than exercising a restraining action. —
N. C. Deck, in Harrington's Photographic Journal.

reprinted recently from the report given in the
Inland Printer, we find the matter dealt with in a
fashion that is likely to mislead readers. It is
suggested that any object lying so near the
camera as to subtend an angle of over 60 degrees
will appear distorted, even if photographed
with a wide-angle lens. The angle of view has,
however, nothing to do with the question, wide-
angled or narrow-angled views being in equally
correct perspective, and also appearing to be
correct if only each result is viewed at the
proper distance.

The reason why wide-angled views generally
appear out of perspective is that as a rule a
wide-angle lens is also a very short-focus lens,
so that the proper viewing distance for the
print is too short for any person with ordinary
vision. A long-focus wide-angle lens will, of
course, only give a wide angle on an abnormally
large plate; therefore such a result cannot well
be produced direct in the camera, but by taking
a small wide-angle view with a short-focus lens
and enlarging it we can produce a long-focus,
wide-angle picture with a viewing distance
sufficiently great to enable us to see the result
from the right point. All apparent distortion
of perspective will then vanish. The effect may
not be pleasing, but it will be perfectly correct
as regards perspective, and the difference between
wide and narrow angled views is not one of
truth of perspective, but of the inclusion of a
pleasing and satisfactory amount of subject.

What constitutes a pleasing angle of view
depends on several factors, the subject being
only one. Among these several factors there is

282

THE WORKROOM

at least one other of a peculiarly interesting
nature, chiefly because it involves certain con-
siderations that are very generally ignored. In
discussing what is pleasing and what is dis-
pleasing in matters of artistic composition there
is a physical aspect that is often forgotten. In
music a discord is usually displeasing chiefly
(and perhaps solely) because it produces physical
pain in the form of a nervous shock, and the
shock is no slight one to people who are specially
sensitive to sound. Similarly in vision, physical
discomfort can be caused by anything that causes
an awkward or strained movement of the eye,
and if a badly composed picture is critically
examined it will be found to contain numerous
points where the moving eye is brought up with a
sudden jerk and sundry lines that the eye can
only follow in an uncertain and jerky fashion.
A graceful curve is followed by the eye with ease
and pleasure, but an awkward curve is only
followed by a strained movement that, though it
may not give rise to actual pain in the ordinary
sense, yet causes displeasure.

In the matter of view angle we again have
similar considerations. A picture including
only a small angle can be viewed all over with
only slight movement of the eye, which involves
no conscious exertion at all, while a big-angled
view requires a much greater movement, not
merely of the eyes, but of the head, and so the
mere looking at the picture involves physical
exertion and induces weariness. So long as we
are not conscious of the movement required
everything is satisfactory, but the moment we
become conscious of the movement we become
dissatisfied. An analogous case is that of reading.
If the type is set in short lines, such as those
which make a single column in our pages, we can
read with comfort; if, however, the lines are set
across the full width of the page reading at once
involves much greater effort; while when they
extend to a foot, or, perhaps, eighteen inches in
length, as is the case in leases and similar legal
documents, the mere act of reading involves
an effort that is altogether too much for many
people.

Reverting to the question of a pleasing angle
for a picture, it should be noted that the eyes
rotate readily in a horizontal direction, but not so
readily in a vertical one, whence an upright
oblong is never so pleasing to look at as a
horizontal one. The majority of pictures are,
therefore, of the horizontal form, the vertical
angle of view being smaller than the horizontal
one. It is interesting to note that if we draw a
simple rectangle and keep on altering and
adjusting its proportions until they appear to
be most pleasing the result will nearly always
turn out to be a horizontal oblong with sides in
the proportion of 3 to 2, which numbers corre-
spond more or less closely with the relative
horizontal and vertical view angles that the eyes
will cover without any movement of the head.

Another very important matter to note is the
fact that the two eyes in unison can only cover
with perfect comfort a very small horizontal
angle when the head is rigid. This angle is only
about 20 degrees, and it corresponds very nearly
to the angle included on a quarter plate by a
10-inch lens, which, by very common consent, is

admitted to be a very satisfactory angle. A
bigger angle can be included by the eyes, but if
the angle of 20 degrees is much exceeded, a special
effort, of which we are very much conscious, is
needed, and if we go to the extreme angle, which
may be near to 90 degrees, the effort becomes a
painful one. A wide-angled view is, therefore,
never a very pleasing thing to study, even when
the proper view-point is taken, so that the per-
spective appears correct. As a rule, we get too
far away, and so get a narrow-angled view of the
wide-angled picture, and then distortion at once
appears. — British Journal of Photography.

Influences Modifying Color Rendering

Three influences controlling modifications of
color rendering in screen-plate color work are
the effects of intensities, reflections, and con-
trasts. When dealing with ordinary mono-
chrome photography these influences are almost
ignored, but in color reproduction they obtrude
themselves sometimes in the most unexpected
manner; for example, an Autochrome of a street
scene showed the road and pavement as a silvery
blue, due to sky reflection following a sharp
shower.

Extreme color intensities, when in large masses
in the same picture, are extremely difficult to
render, for the reason that color intensities vary
considerably with the quantity of white light
admixed with them: the whiter the light the
more brilliant or luminous the color to the eye,
and, conversely, the feebler the light the less
brilliant or blacker the color. This circumstance
creates over-exposure of the high-lights when
endeavoring to secure detail in the shadow and
dark parts, resulting in the high-lights presenting
a washed-out and weak, detailless appearance.
In monochrome work brilliant high-lights and
deep shadows often contribute largely toward
an harmonious result, but in screen-plate photog-
raphy such differences in light or color intensities
are best avoided.

The influence of reflections cannot be ignored.
It is evident that a flat piece of pure white matt-
surfaced paper, as seen in an ordinary room, can-
not appear absolutely white, for all the objects
in the room must reflect some colored light, and
the lights reflected from different objects are
usually of different colors, so that the final tint
of the piece of paper depends not only upon its
natural color, but also upon the presence and
proximity of extraneous objects, such as curtains
and cupboards. Consequently the apparent
color will not be "white," but a delicate, inde-
scribable hue of the preponderating reflected
tint. If instead of the flat piece of paper we
consider the appearance of a white egg under
similar conditions, it is evident that the rounded
surface of the egg will cause it to have a different
appearance: the high-light will appear grayish,
with the exception of that small portion upon
which the direct light falls, which may appear
white; the remainder of the light side will have
a delicate grayish tint, the depth of which will
gradually increase as it emerges into the deeper
gray of the shaded side, which shadow will be
tinged with the colors reflected into it. A glass
of water- placed in similar conditions will be

THE WORKROOM

283

affected by light, shade, and reflected colors in a the two exposures, and this may be a stand

similar manner. Again, glazed china or earthen- camera or a hand camera. In either case the

ware, a shiny apple or a tomato, will show spots camera must be at the same height from the

or streaks of white reflected light — images of a ground, while the two directions in which the

window — on the small portion of surface where lens points should be parallel. With very near

the light falls, and in these spots all color will he subjects, such as still-life objects, great accuracy

lost, or, at any rate, considerably modified by the must be observed in these two matters, and so

reflected color of the sky, while the shadow por- we want some kind of stand which will permit

tions may even assume a different color by the the camera to be slid from side to side with a

admixture of a preponderating reflected tint. perfectly parallel movement. For objects at a

It is advisable, therefore, in numerous instances moderate distance these precautions are not

that high-lights be reduced by diffusion, and needful, and the height of a hand camera can be

reflected shadow tints abstracted by suitably preserved quite nearly enough by holding it

selected and carefully arranged reflector screens. against a certain waistcoat button, or by holding

Color contrast should prove a valuable artifice it at eye-level. For most ordinary subjects the

to the screen-plate photographer in still-life difference between the two positions need only

studies, since it places at his command the power be about three inches or less, and a very slight

of increasing the value of colors; for example, sway of the body is sufficient to secure this. So

placing orange and blue together intensifies both few people seem to realize what can be done in

colors — the blue becomes bluer and the orange this way with an ordinary hand camera that the

more of a red orange. matter is worth special mention.

The following table indicates what change can Such methods are, however, obviously of no

be expected in color contrasts: use with moving objects with which the simul-

Original colors. Change due to contrast.

Red Orange Red, yellower Orange, green gray

Red Green Red, unaltered, brighter Green, brighter

Red ... Blue Red, more orange . Blue, greener

Red Violet Red, orange . . Violet, unaltered

Green Orange Green, bluer Orange, yellower

Green Blue Green, olive Blue, more violet

Green Violet Green, yellower . Violet, bluer

Orange .... Blue Orange, redder . Blue, bluer

Orange .... Violet Orange, greener Violet, bluer

Violet Blue Almost unaltered . . Almost unaltered

The contrasting colors may be secured either
by separate objects or the employment of a
tinted background. I employ a sheet of ground-
glass on which I work either a suitably colored
background with crayons blended with the dry
fingers, or I place a sheet of colored paper at the
back of the glass — the matt surface of the glass
in front softens the color intensity most effec-
tively.— British Journal of Photography.

Stereoscopic Work

A stereoscopic photograph consists essen-
tially of two views of the subject taken from
slightly differing standpoints, so as to represent
more or less accurately the two separate views
seen by the two eyes. The two photographs if
mounted side by side and viewed in a proper
stereoscope then appear to coalesce into one view,
which represents with close accuracy the object
as it appears to the two eyes when it is seen
direct. The advantage of the process is that the
subject appears in relief, and therefore details
of form which cannot be detected accurately
in an ordinary single photograph become easily
apparent in the stereoscopic view. The process
of stereoscopy has therefore very great value in
all photographic work, the aim of which the pre-
servation of accurate records.

The first stage is the production of two nega-
tives from slightly differing standpoints, and it
is obvious that there are several ways in which
such negatives can be secured. We can use an
ordinary camera, shifting its position between

taneous exposure of both plates is absolutely
necessary, and for such work a regular stereo-
scopic camera with two twin lenses is essential.
Such a camera may be of any kind from a folding
pocket camera, or box-form hand camera, to a
stand camera. For the latter a half-plate camera
is most convenient, as by changing the two lenses
for a single one and removing the central parti-
tion which divides the camera into two we can
use it for half-plate work. Moreover, a half-
plate dark slide can be arranged to hold either a
half-plate or a full-size stereo plate (6|x 3f), with
a very slight alteration, while a half-plate is
practically large enough for the purpose. Hand
cameras may be obtained to hold various size
plates, from full size stereo down to the small
Continental sizes (45 x 107 mm.), now very
popular. One difficulty with the regular type
of twin-lens camera is the regulation of the
separation of the two lenses. Generally this
should be from 2\ to Z\ inches, and it may well be
a fixed average distance for most ordinary work.
For very near work it should, however, be
reduced, 2 inches being often desirable for flower
work or still life subjects. If much work of this
kind is to be done I recommend a stand camera
with adjustable front panel permitting the lens
separation to be varied from 2 inches up to Z\
inches. A cheaper alternative is to have spare
lens panels with flanges fixed at different dis-
tances, say, 2, 2\, 2\, and 3 inches. A hand
camera may well have a fixed lens separation of
about 2\ inches for a small camera, and 3 or Z\
inches for a full size one. It should be noted that

284

THE WORKROOM

a small separation of 2\ inches or less will be too
little if 4 or 4t inches focus lenses are used, for
too small a view angle will then be included on
each plate, while with 3 inch lenses 2\ inches is
quite enough.

For what may be termed easy subjects, with
short scales of gradation, all we have to do is to
aim at correct exposure and the production of a
soft negative full of gradation and in perfect
focus. Any tendency to harshness is the chief
thing to avoid. Landscape subjects with a
long scale of gradation must, however, be treated
in rather special fashion. All ideas of exposing
for the shadows and letting the lights take care
of themselves must be abandoned if the lights
are at all powerful. Over-exposed lights are
fatal in stereoscopy, and therefore exposure
must be adjusted to the light and the shadows
left to themselves. This method will, with an
ordinary single photograph, give what is known
as an under-exposed effect; but, provided the
shadows are not blocked up in printing, which is
a defect that must carefully be avoided in any
case, a stereoscopic slide will show no under-
exposure in the stereoscope. Shadow detail
that is practically invisible in the separate prints
will show up in a quite wonderful fashion in the
stereoscope, and the result will be very realistic.
On the other hand, anything in the nature of a
burnt-up high light will be an eyesore in the
stereoscope that nothing will alleviate. This
rule of exposure is a most important one in
stereoscopy. Another matter is that the effect
of relief obtained in the stereoscope is largely
a matter of realistic perspective, and this a
matter that concerns a good deal more than
simple drawing. The lens looks after the truth
of the drawing, but the aerial perspective, or the
correct gradation of tints according to distance
and color, depends solely on true gradation, which
will not be obtained in all cases unless ortho-
chromatic or panchromatic methods are adopted;
therefore, every effort should be made to secure
truth in this respect.

It must not be supposed that every subject
is equally well adapted to show stereoscopic
effect. In fact, none at all will be apparent in
the stereoscope unless one, or, better still, both,
of two conditions exist. One is that the linear
perspective must be strong, and the other that
parallax must exist. In landscape subjects
especially, the worker must look out for both in
selecting his view-point, and both are fairly
simple matters to understand. Parallax exists
when one subject stands separately in front of
another, so that each lens sees a different amount
of the further subject. Thus in a view of a simple
building there may be no parallax at all, but it is
introduced at once by the presence of, say, a
lamp-post, or a figure of any sort standing in
front of the building. The nearer the figure is to
the camera the greater is the parallax, and many
subjects that would otherwise give only failures,
from the stereoscopic point of view, may be
turned into successes by judiciously including a
figure, or, indeed, any kind of foreground object.
With regard to the other matter linear perspec-
tive is a matter of the direction of lines, and
parallel lines running away from the observer
always appear to converge on a single "varnish-

ing" point, which is, in general, a quite imaginary
point a very long way off. To secure strong
perspective in a photograph the point to which
the more important lines of the subject seem to
converge must be within the view included on the
plate. That is to say, if this point should happen
to be a real one it must be visible in the print if
the perspective is strong. If it falls outside the
print the perspective will be weak, and it will
become still weaker as the point travels farther
and farther outside the margin. The stereoscopic
worker should therefore make a point of looking
for the direction of the most important vanishing
point, and then select a position from which it
will be included in the angle of view. This
applies especially to outdoor subjects. It is of
much less importance with near still life subjects
full of detail.

The stereoscope is simply a convenience for
viewing the prints, and some people can dispense
with any such arrangement. Considerable
practice is, however, required, and in general a
stereoscope is necessary. It consists essentially
of a support for holding the slide, with a screen
arranged so that each eye can see its own proper
picture alone, and lenses of a special type through
which the views are seen. The chief point to
note is whether the apparatus is fitted with simple
lenses or with prisms. The ordinary cheap
"Holmes" stereoscope always has prisms cut
from lenses, and these permit the use of slides
in which the prints are mounted farther apart
than is desirable when plain lenses are used.
Naturally, the greater the separation of the prints
the larger can each print be, and so prisms have
advantages. Personally I prefer this form of
stereoscope, and unless a cabinet arrangement
holding a large number of slides is required the
cheap form of apparatus answers quite well.

The printing process used should be one show-
ing no particular surface texture. A quite
smooth but not necessarily glossy paper is best,
and out-of-the-way tones should be avoided.
The only varieties wanted are cold tones and
warm tones, the latter not being too striking, for
all subjects may be classed as either cold or warm
quite irrespective of color. Blues, greens, and
reds are to be carefully avoided. Soft prints
full of detail are to be aimed at. If the negatives
are on one plate a print taken will necessarily
show the two views upside down when the right-
hand one is on the right, therefore the two views
must be separated and each put the right way
up. They must then be trimmed, though it is
best to trim the top and bottom edges before
separating. Next trim off rough edges, keeping
both prints the same width, and compare the
prints, noting especially the edges nearest to
the nearest object in the view. Trim these two
edges so that on this side each print includes
practically the same amount of subject. Trim
the other edges to make the prints of the same
width and then place the prints side by side for
comparison. The outer edge of each print should
now show slightly less of the subject than the
inner edge of the corresponding print, and if it
does not each should be further trimmed down
until this effect is produced. The prints can
now be mounted and their right distance apart
can be determined either by the rule given in the

THE WORKROOM

285

"Almanac" or by trial, putting the two views
side by side and adjusting their spacing until
the result looks quite satisfactory in the stereo-
scope. At this stage some people find that they
are unable to get the views combined at all in
the stereoscope; but assuming that everything
has been done correctly this infallibly denotes
defective vision and the necessity of consulting
an oculist without delay. The stereoscope is in
no way injurious to the eyesight, but rather bene-
ficial, and difficulty in using it denotes visional
defects that were probably unsuspected.

Transparencies can be made instead of paper
prints, but as the trimming of the results is
impossible it is best to cut and trim the negative
with a glass-cutter and mount them on a piece
of glass in the correct relative position. Trans-
parencies can then be printed from them. Special
printing frames for transposing and printing
can be obtained, but I personally much prefer
to cut the negatives as described. It should be
noted that with a stand camera and an adjust-
able lens separation the subject can be so
arranged on the ground glass that any after
trimming of the individual prints becomes quite
unnecessary. This is a very material point in
favor of such apparatus, especially when small
near objects are being dealt with.

Distant Subjects

These can be shown in stereoscopic relief by
taking views from points wide apart, the two
camera positions varying by from 1-100 to 1-50
the distance of the object. Sometimes the sep-
aration will be a very long one, and in such cases
care must be taken not to include any near
foreground objects in either view, for naturally
each view will have an entirely different fore-
ground. If on a moving vehicle or vessel, the
second view may be taken a few seconds or
minutes after the first, remembering that the
greater the distance of the object the larger must
be the interval. Clouds may be secured stereo-
scopically by standing still and taking two views
with an interval of time, for in this case the move-
ment of the clouds themselves will be a substitute
for the movement of the camera. This expedient
will, however, only serve if the form of the clouds
is fairly constant and not rapidly changing as the
effect of wind. — British Journal of Photography.

The Chemical Analysis of Gelatin Dry-plates

In the case of the majority of commercial
gelatin dry-plates the emulsion is one containing
both iodide and bromide. In the chemical
examination of these plates the experimenter
generally requires to find the quantity of total
silver halide and that of silver iodide. Numerous
analyses of this kind have shown that it is not all
the methods of separating iodine from bromine
which are suitable for this purpose, while also
the separation of the silver halide from the
gelatin presents certain difficulties. Analysts
who have occasion to undertake the examina-
tion of photographic materials may therefore be
interested in noting a method which has been
found to yield very satisfactory results in the
examination of gelatin dry-plates.

In measuring the quantity of emulsion on
the plates, one or more plates are used, say,
three to four plates 7x5 inches size. These
are weighed, the emulsion then dissolved off
with hot water and the glass plates (dried)
again weighed. From these two weighings the
the quantity of air-dry emulsion per unit area
is readily calculated.

For the estimation of the total silver halide
in the emulsion one to two grams of the latter
are shaved off the air-dried plates, placed in a
beaker in about 50 to 60 c.c. of water to swell
and then render fluid on the water-bath. About
20 to 30 c.c. of nitric acid is then added and
the mixture brought to the boil, when it coagu-
lates, and the precipitate of silver halide can be
allowed to settle, filtered off and washed until
the wash-water is neutral to test paper. The
precipitate is then dried, carefully detached from
the filter-paper and the latter reduced to ash in
a weighed porcelain crucible. The precipitate is
then placed in the crucible, as soon as the latter
is cold, the crucible heated just sufficiently to
melt the silver halide, and again weighed when
cold.

For the estimation of the silver iodide in an
emulsion a weighed quantity, from 3 to 4 grams,
of the air-dried emulsion is taken. The silver
halide is separated from the gelatin as above
described and is well washed. The estimation
of the iodine in it (silver iodide) is done by the
following method of R. Fresenius, using nitric
acid. The following solutions are necessury for
the process:

(a) Solution of potassium iodide of known
strength. This is prepared by drying pure
potassium iodide at 180° C, and dissolving
an exactly weighed quantity, say, 5 grams, in
1 liter of water.

{b) Solution of sodium thiosulphate (hypo.)
containing from 13 to 13.5 grams of the pure
crystallized salt in 1000 c.c. of water.

(c) Solution of nitric acid in sulphuric acid,
prepared by passing nitrous gases into sulphuric
acid to the point of saturation.

id) Pure carbon bisulphide.

(e) Solution of sodium bicarbonate, 5 grams
in 1000 c.c. of cold water. To this solution 1 c.c.
of hydrochloric acid is added.

The first thing is to ascertain the titre of the
hypo. solufion for iodine as follows: 50 c.c. of
the potassium iodide solution are placed in a
400 c.c. bottle with a well ground stopper,
about 150 c.c. of water and 20 to 30 c.c. of
carbon disulphide added, with a little dilute
sulphuric acid: then about 10 drops of the nitric-
sulphuric preparation. The bottle is closed,
vigorously shaken for some time and the contents
then allowed to settle. A slight further addition
of a few drops of the nitric-sulphuric mixture is
then made in order to be sure that the whole
of the iodine has been liberated. After further
shaking and leaving the mixture to stand, the
supernatant liquid is poured off as completely
as possible (leaving the violet-colored carbon
bisulphide) into a larger boiling flask. About
200 c.c. of water is placed in the stoppered
bottle, the latter carefully shaken and the watei
poured off as before into the boiling flask, this
washing out being repeated until the water comes

286

THE WORKROOM

off without an acid reaction. To the contents
of the boiling flask about 10 c.c. of carbon
bisulphide are added, the mixture carefully
shaken and poured off from the carbon bisul-
phide into a second boiling flask. The carbon
bisulphide is washed and the contents of the
second boiling flask again shaken up with a
little carbon bisulphide, whereupon, as a rule,
only a very faint color is imparted to it. The
different lots of carbon bisulphide from the
flasks are now poured on to a wetted filter and
washed until the wash-water is no longer acid.
The funnel is then placed in the stoppered bottle,
a hole made in the filter paper and the carbon
bisulphide allowed thus to join the main portion
in the bottle. We now have the whole of the
iodine in solution in carbon bisulphide.

Thirty c.c. of the soda bicarbonate solution
are now added and addition made from a burette,
with constant shaking, of the thiosulphate
solution, until the carbon bisulphide is almost
completely decolorized. The quantity of thio-
sulphate solution required corresponds with the
iodine contained in the 50 c.c. of potassium
iodide solution.

It should be noted that the nitric-sulphuric
mixture may also be prepared by adding corre-
sponding quantities of sodium nitrite to concen-
trated cooled sulphuric acid until the latter is
saturated.

The silver halide obtained, as above described
from a weighed quantity of emulsion and well
washed, is transferred to a small Erlenmeyer
flask and mixed with an excess of fine zinc
shaving. Some acetic acid and sodium acetate
are added and the whole placed on the water
bath until the silver is completely reduced. The
liquid is then fil ered, the filter-paper washed,
and the whole filtrate then treated as in ascer-
taining the strength of the potassium iodide
solutions. The iodine is liberated by the nitrous
acid and is dissolved by the carbon bisulphide,
being then titrated by the sodium thiosulphate
solution. From the quantity of the latter which
is necessary the quantity of iodine as silver may
be calculated. In liberating the iodine and
extracting it, care requires to be taken com-
pletely to separate the iodine. For this purpose
addition of the sulphuric-nitric mixture should
be made to the treated solution and the latter
shaken up with carbon bisulphide. In this way,
as already described, the whole of the free iodine
is obtained in solution, the carbon bisulphide
readily separating. It is a good plan to work
with fairly small bulks of solution and to check
the complete separation of the iodine by adding
some nitric-sulphuric mixture to the collected
wash-waters. — E. Valenta, in British Journal
of Photography.

A Simple Test for Pure Paper

In these days when materials are so numerous
and so varied testing for quality is often very
desirable, and paper is one of the most important
photographic materials; it may therefore be
useful to draw attention to a paper read in the
early part of this year before the Bureau of
Standards at Washington on the subject of
testing. Fuller details will be found in the

Chemical Engineer, xvii, No. 3, and the
Chemical News for July 11, 1913. Using a
testing solution known as the "Herzberg"
stain, cotton and linen fibers are stained a wine-
red color, mechanical ground wood fibers yellow,
and chemically treated wood pulp indigo blue.
Pure rag paper can therefore readily be dis-
tinguished from the inferior wood-pulp paper.

The following is the formula for making the
staining solution:

Zinc chloride 20 gm.

Distilled water .... 10 c.c.

Potass, iodide
Iodine .
Distilled water

2.1 gm.
0.1 gm.
5.0 c.c.

Mix these solutions and allow the mixture to
stand for twenty-four hours. Then decant off
clear liquid and keep in dark bottles or in the
dark.

The paper to be tested is cut up and immersed
in \ per cent, caustic soda solution, which is
then raised to the boiling point. After boiling
for one minute the caustic solution is poured off
and the paper rinsed with water, a few drops
of 25 per cent, hydrochloric acid solution being
added to neutralize the alkali. The paper is
then rolled up into balls of about the size of a pea;
some of these are put into a test-tube half filled
with water, and all is vigorously shaken until
the paper disintegrates into its fibers. A few
of the fibers are then picked out, put on a micro-
scope slide, dried, stained, teased out with needles
to separate the fibers, pressed under a cover-glass,
any exuding dye being mopped up with filter
paper, and then the whole is examined under
the microscope.

Four different strengths of dye solution are
recommended. One the full strength as made;
one slightly diluted; one containing a few extra
drops of iodine solution; and one with a little
extra zinc solution. Extra iodine gives a deeper
red in rag fibers, extra zinc a deeper blue in chemi-
cally treated wood fibers, while the diluted stain
assists in the distinguishing of the two kinds of
wood fibers, giving a clearer yellow to the ground
wood. Each slide may therefore with advantage
contain four specimens of fiber, each treated
with one of the four stains. The character of
the paper can then be rapidly determined and
with certainty

For purposes of trial and practice we may
take any good quality filter paper as an example
of pure rag pulp; white cheap wrapping papers
and newspapers are mostly wood pulp. The best
photographic papers are, or should be pure rag,
the permanency of wood papers being doubtful.
It must not, however, be supposed that a paper
is of wood pulp because it turns blue when
immersed in iodine solution. This effect is not
due to the pulp but to the starch used in the
manufacture or sizing of the paper. To test
the pulp itself the paper must be prepared in the
way described and the fibers be well separated
so that the effect on the individual fibers can be
distinguished. A microscope giving moderate
magnification of about forty diameters is suffi-

THE WORKROOM

287

ciently powerful for the purpose of examining
the fibers. With practice various wood pulps
can be identified by slight differences in color,
but for photographic purposes it is perhaps
sufficient to be able to distinguish rag paper
from wood pulp and to determine the absence
of any variety of the latter. — British Journal
of Photography.

Multiple Negatives

The practice of taking a number of small
pictures upon one plate is of considerable
antiquity in photographic chronology, dating
back to the early days of the ferrotype, when
"nine gems for sevenpence-half penny " were to
be had in nearly every town. Since then cheap
photographers have produced their stickybacks
on the same principle, for it is only by this means
that the work can be made remunerative.

Outside this class of trade few photographers
think of going beyond the orthodox repeating
back for two exposures, and even with that there
is a tendency to use separate plates instead of
making the repeat upon one of larger size. As a
matter of fact, there are many occasions on
which considerable economy of both time and
material may be effected by making several
negatives on one plate for both commercial and
artistic work, while for experimental purposes
the value of the practice is undeniable. In such
a case as the testing of color screens, what more
convenient way can be imagined than of taking
the test object four times on the same plate,
either with and without screens of various depths,
or with one and the same screen and varying
exposures. Again, where a number of small
articles have to be photographed for catalogue
work, it is often more convenient, especially
when working away from the studio, to make
four quarter-plate exposures upon a whole plate
than to make each upon a separate quarter-
plate. Supposing we have a whole-plate camera
with three slides, we can carry plates for 24
exposures, whereas with single quarter-plates
in carriers we are limited to six. Four oblong
lantern slide negatives or two useful postcard
sizes can be got out of a half-plate, and even the
quarter-plate can be made to yield four locket
pictures.

Stereoscopic negatives of still life subjects are
also readily made by means of a simple mask-
ing arrangement which need not cost a single
penny. The simplest multiplex attachment,
which may be used in a whole-plate camera for
either four quarter-plates, two half-plates, or
two panoramas, 8^ by 3J, is made by cutting
a saw kerf all round the inner edge of the revers-
ing frame and springing in strips of blackened
tin or zinc, which cover the portions of the plate
which are not to be exposed. For two halves
of a whole-plate we require a piece of tin 6|
by 4j, which is first placed at one end of the
frame, the exposure made, and then slipped to
the other end for the second picture; for the
panoramas we have a slip 8| by 3J, and place
it transversely or vertically, as the subject may
demand, while for quarter-plates both slips are
put in, leaving a rectangular space of the neces-
sary size. For occasional use even the groove

may be dispensed with, and a cardboard shutter
may be cut so as to fit tightly into the frame.
In an emergency I have cut such a mask out
of an old book cover and just jammed it into the
frame. If this plan be adopted it is necessary
to cut a special mask for quarter-plates having
one quarter cut away; this may be turned so as
to expose the four sections successively. In th?
case of a studio camera the mask is fitted into
the ordinary C. D. V. mask, taking care to place
it centrally, so that as the slide is slipped along
the subject will keep in position on the plate.
It is desirable to use a camera in which the lens
has considerable latitude of movement in both
horizontal and vertical directions, so that the
area of best definition and evenest illumination
can be utilized. If this be lacking care must be
taken to use a small aperture, especially if a
short focus lens is being used.

The mask idea is carried out in a very complete
form in Century Multiplying back, which is
a combination of a repeating back and in-
geniously designed masks, as many as twenty
various sized pictures being obtainable with the
one outfit, ranging from 4j by 2 to 1 by 4-5
inches, and the number of exposures upon one
plate from two to eighteen. In this apparatus
the dark slide moves laterally, giving a maximum
of six positions, while the openings are arranged
one above the other, one only being in action
at the time, so that for eighteen exposures the
top aperture is opened and six repeats made,
then that aperture is closed and the middle one
opened and six more made, the process being
again repeated for the bottom row. Klay's
Duplicator is arranged upon somewhat similar
lines, but only a central opening is used, the
plate having vertical as well as horizontal move-
ments in the focal plane. A very simple form
on the lines of the multisecto is made by Butcher
and Son; by its aid three panels or six midgets
may be made on a quarter-plate. It should be
noted that all these appliances are for standard
sized plates and consequently are useful to the
all-round photographer, but special sized plates
are usually employed by "sticky-back" workers,
long strips of such dimensions as 6^ by If or 6^
by 2f being convenient for printing on bands of
bromide paper, which have then only to be cut
lengthways to separate the various orders.

For ferrotype work and for the production of
postage stamp portraits the old form of multiple
camera, which is fitted with from four to twenty-
five lenses, is still used, the interior of the camera
being divided into cells so that each picture is
practically taken by a separate camera. The
repeating back is sometimes fitted so that with
nine lenses thirty-six pictures may be taken
upon one 7 by 5 plate with four shifts. Such
cameras are useful when the prints have to be
delivered in sheets, or, as in the case of ferrotypes,
where printing has not to be done. They usually
have the disadvantage of being fitted with cheap
lenses, and consequently the individual pictures
vary in definition and exposure.

One application of the multiple negative is to
facilitate the production of cheap enlargements.
I have seen one of the "club" picture mills where
four exposures were made upon a half-plate, all
being copies. The originals were sorted into

288

THE WORKROOM

sizes, and with one focussing perhaps twenty
exposures were made, using five plates; an enor-
mous amount of time was thus saved in handling
the negatives. A special holder was used in the
enlarger, the plate being slipped under springs
which held it over a fixed mask, a touch sufficing
to move it for each exposure. The results
obtained by this simple arrangement were
excellent, but fortunately fixing and washing
cannot be hurried in a like way, so that the dura-
bility of such "cut price" work is more than
doubtful.

For illustrative work where a number of car-
bons or platinotypes of small size are wanted
in sets, the multiple negative system may be
adopted with advantage, sheets of six or nine
cabinets being little more difficult to handle than
smaller sizes. Prints for mounting on Christmas
cards, fancy goods, and the like being usually
made this way, sometimes the compound nega-
tive is made up of small plates cemented upon a
thick plain glass, as is done in the machine-
printed postcard trade, but where it is possible
to get all the subjects on the one plate it is more
convenient to handle, and by exposing each
subject independently uniform quality can be
obtained. Even if sizes vary, each one can be
focussed, which is not possible if one exposure is
made on a sheet of mixed originals. Something
on the multisecto plan can easily be devised to
meet almost any case, cardboard masks answer-
ing every purpose. One precaution is necessary
in such cases, and that is to avoid exposing any
section twice. I avoid this by fixing a card on
the back of the slide, this card being ruled in
sections corresponding to those of the plate,
then as each exposure is made I mark it off in
pencil. A good card may be cleaned with rubber
and will serve many times. — British Journal of
Photography.

Random Notes

Nickel-plated fittings can easily be cleaned
with alcohol to which 2 per cent, of sulphuric acid
has been added. Apply this mixture liberally
and, after a few seconds, wash off with clean
water. Then rub over with a swab dipped in
fresh alcohol, containing no acid, and polish with
a dry cloth. This method will give brilliance to
the dullest piece of nickel-plate without damaging
it in any way.

The old idea that a north light is the only light
for a photographic studio is not entertained now
by many leading portrait men. Here is what
Mr. William Crooke, of Edinburgh, says on the
subject: "My finest room — the one in which I

have most pleasure in working — is one with
abundance of light from the south. You see
much more in such a studio than in one lighted
solely from the north. If I want sunshine in my
pictures I can have it; and nothing gives me more
pleasure than to see fair-haired children in the
sunlight that reaches that room."

Copies of any patent can be obtained from the
Commissioner of Patents, Washington, D. C.
Price, five cents each.

Reflecting Camera. W. F. Folmer. 1221304.
M. P. Camera Device. W. A. P. Cathcart.

1221677.
Camera Device. H. H. Meredith. 1221558.
Camera Device. C. A. Lare. 1221062.
Color Carrier for Color Photography. I. Kitsee.

1221457.
Photographic Machine. G. Wald. 1221780.
M. P. Film Wiper. E. Ducher. 1221704.
M. P. Apparatus. J. F. Davidson. 1221515.
Camera. A. B. Elmstrom and J. A. McDonald.

1221847.
Camera Mounting. N. Pedersen. 1221902.
Camera. M. Lichtman. 1222310.
Photographic Film. J. E. Brandenberger.

1222825
M. P. Apparatus. W. O. Worman. 1222505.
M. P. Camera. C. Kesses. 1223341.
M. P. Camera Device. C. E. Akeley. 1223332.
Cinematographic Apparatus. A. and L. Chronik.

1223147.
Film for Color Cinematography. P. D. Brewster

1222925.
Photographic Apparatus. W. C. Huebner.

1222766.
Photographic Apparatus. G. C. Beidler. 1222596.
Photographic Apparatus. G. C. Beidler. 1222597.
Photographic Apparatus. S. A. Mischansky.

1222654.
Plate Developing Holder. L. F. Libby. 1223057.
Camera. J. A. and C. T. Desjardine. 1223858.
Shutter Operator. R. B. Leavitt. 1223807.
Color Cinematography. L. Gaumont. 1223,381.
Cinematograph Apparatus. P. D. Brewster.

1223664.
Cinematograph Apparatus. M. Vandal. 1223539.
M. P. Machine Stand. P. R. Gonsky. 1223579
M. P. Signal Device. O. B. Day. 1223771.

The

PHOTOGRAPHIC
JOURNAL*5"3*

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NEW SERIES WILSON'S PHOTOGRAPHIC MAGAZINE , FOUNDED 1864

CAMERA BUILDING .NEW YORK
$1.50 A YEAR - JULY, 1917 - 15 CT5. A COPY

In 1909 it was stated of

Cyko Paper

"Each grade of Cyko has more latitude,
plasticity, chromatic rendition and proper
scale of gradation than any other paper.
Its scope is unlimited"

and yet its scope has been enlarged
every year since, so. thdt itl 1917 it

CYKO is the single and universal expression
of photography today

Ansco Company

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THE HENRY HENDERSON STUDIO

NEW YORK CITY

PHOTOGRAPHIC
JOURNAL-
S''AMERICA •

VOLUME LIV

JULY, 1917

NUMBER 7

MINIATURES

By MARGARET McALLISTER

ONCE more the tide of public taste
has run to miniatures, and again
we see the quaint oblong cases and
little round gold rims on the walls. But
how charming the old ivory miniatures!
We look at our grandmothers with their
abnormally large eyes and wonderful
pink and white complexions, and admire
the finished workmanship of the whole,
and then we put down the little por-
trait with a sigh that we are only
photographers, and that such art is not
ours.

But do not let us be in such a hurry.
If really we are photographers, then
we have a certain power; we are able to
obtain an image — usually a good like-
ness— and it is only the color that is
wanting. To be sure it is a very big
"only," still there is a way for some of
us photographers to get a little near the
effect of a painted miniature, and if not
very near, to still be able to create for
ourselves a more reasonable representa-
tion of a person than the cold tones of
photography can give.

If we are photographers, it is prob-
able we know something about retouch-
ing, and have had to apply a wash on
the negative and spot a print; why then
should we not try our hand at getting
just enough color on to a print to make
the subject look alive? I would recom-
mend beginning on an ordinary platino-
type in a very unambitious way, just to
see what can be done. A faint wash of
flesh color over a face is quite enough
to stimulate enthusiasm and make the
photographer eager to try more, so
quickly is it done, and such a wonderful
difference does it make. In fact, the
photographer determines to experiment
further, and I should like to give him a
few hints how to go about it.

Do not begin with a spoiled print; it
is discouraging and is no fair trial, but
find one with good modeling on the face,
neither too light nor too dark, and with
a fairly sharp focus. Of course, the
print should be mounted.

When it is pinned firmly to a drawing-
board, take a paint brush and wash the

(289)

290

MINIATURES

face over with plain water, being care-
ful not to go beyond the edges; while
this is drying, mix the color for the
flesh (vermilion and yellow ochre), which
should then be applied with a second
brush, keeping the first one wet and
quite ready to hand, for, as soon as the
color is on, it is wanted immediately, to
wipe out the whites of the eyes, soften
the edges, take off any bulbs of color
left on, and to generally improve things.
In putting on a wash we must try and
get back to our school days, and remem-
ber how we used to do maps, and how
it was our aim to get an even color that
kept discreetly in its own country and
did not trespass unduly into the next.
This applies exactly to the washes we
put on the print.

The hair is done next. A wash of plain
water is first put on, and then the color
of the hair mixed and painted on as soon
as the water wash has soaked in; then
the edges are softened down with the
other brush. Care must be taken that
there is no distinct line left round any
edge. With the color of the hair still
on the brush, the eyebrows can be
painted and the upper eyelid accen-
tuated— the lower one should not be
touched. Then the color is mixed for
the eyes themselves and very carefully
put in, so that the lights in them are
not lost nor the expression altered.
Now comes the most difficult piece of
work for the beginner, the coloring of
the cheeks and lips. The colors to be
mixed are vermilion, carmine, or Indian
red, and it must be put on as gently as
possible, and the other brush — doubly
necessary at this crisis — can soften the
edges. The great thing, at this early
stage, is to make the washes very weak,
remembering that, though it is easy to
add color to a platinotype print, it is a
very difficult matter to take it away.
Of course, with ivory it is different, but
we have not got as far as ivory yet !

Perhaps now I have said enough to
help the photographer to make a begin-
ning in converting a photograph into a
painted miniature. The only tools he
requires so far are an ordinary paint-
box of moist water-colors and a few
sable-haired brushes of 2, 3, and 4
sizes.

After the first encouraging start comes
the time for mistakes, and perhaps,
before going further, I had better say a
little on this subject. The most usual
one is that color has been put on too-
strongly. I will take an example. A
child is the subject. The complexion,
hair, etc., have been washed in, and alL
looked going well, and then the red.
frock was colored, and directly every-
thing else looked weak and washed out.
The red was too vivid, and, as it were,
overbalanced all the rest. An expert
naturally would not make such a mis-
take; but supposing he had, he would
correct it by deepening every other
color in the print and by mixing such
warm tones in his background that the
red of the frock was worked up and so
neutralized. However, as we are not
experts, another method must be
adopted, namely, by wetting the largest
size brush, and wiping it carefully over
the unlucky color. If this is done care-
fully and frequently, and the brush well
rinsed in between, in time the color will
be reduced; but under no circumstance
must it be disguised by a layer of Chin-
ese white, as this spoils the effect at
once. Very often, in trying to render
dark brown hair, we get too much color
on to the print, and the lights and shades
get hidden. If this is so, the quicker we
get it off the better, because the diffi-
culties in imitating these tones in paint
are tremendous, and all our faking about
is in vain; we only succeed in making
the hair so unrealistic-looking that it
resembles a mop or even a cap. We
must remember to grasp every advan-
rage the print gives us, and never to
lose any of its suggestions by covering
them with paint.

Another probable fault will be that
our mouths have a hard, cut-out look,
as if the lips had nothing at all to do
with the face.

This can scarcely be called a mistake,
because the mouth is one of the most
difficult things to do, and I will try by a
little explanation to smooth the way for
the beginner.

In painting a mouth the photographer
will have a chance in showing his kindly
disposition, for the brush gives him the
power of emphasizing faults or hiding

MINIATURES

291

them; and so sensitive a feature is the
mouth that the least little twist of the
brush will do it. But if the miniature
painter hopes for success, he must
always beautify. The sitter must be
•seen at his or her very best. The mouth
should be in the shape of a cupid's bow,
and though a perfectly straight upper
lip — fortunately one seldom sees it —
cannot, and should not, be transformed
by paint, yet the curves can very well
be suggested and its straightness ren-
dered less conspicuous. Also, there is
no need to reproduce the exact color of
the sitter's lips; the brush need not fol-
low so strictly in the camera's steps of
realism, and anemia is not recognized
in miniatures! Let them be the healthy
red of rose-madder or carmine mixed
with vermilion. The upper lip has the
least color, then a line of deeper red is
drawn with a fine brush in a nice curved
bow shape where the lips meet, and then
the under lip is painted, if possible with
the least color in its middle to suggest
the round. At the corners of the mouth
a little shadow of the weak gray should
be put on most delicately. This has
the effect of showing the mouth really
does belong to the face, and gives the
worker the chance of ignoring droop-
ing corners, which so spoil a face's
expression; and then, to finish, a faint
gray shadow is touched in just under
the under lip, unless it is already sug-
gested in the print itself, and then the
mouth is complete.

I would advise those photographers
who are really feeling interested in con-
verting their prints into miniatures to
use a magnifying glass when painting
the mouth. Even if they do not work
"with it, it will be found useful to see
where the touches of the brush are too
coarse and where more small touches
are needed. I advise this more strongly
because if the photographer — especially
if he understands retouching — examines
his work with a glass he will not be able
to help adding the dots of paint that he
sees are needed, and so he will be un-
consciously teaching himself stippling
— but I am anticipating, and must
stop.

Before going further into the details
of finishing the face, etc., of the minia-

ture, I should like to say a little about
the background. It does almost as
much for the painting as the glass when
it is framed, which is quite as compli-
mentary as a veil to a lady's face,
bringing the whole of the picture
together somehow, and softening any
harsh effect. For painting in back-
grounds the usual method is adopted:
The surface is well washed over with a
thick brush, given a few seconds for the
moisture to soak in, and then the thick-
est brush is filled with the color desired,
which is quickly put on, and with as
few touches as possible. Three broad
sweeps should be enough. What color
depends, of course, on the worker's
taste and the subject. But provided
no very vivid color has been introduced,
blue makes a very useful and safe back-
ground, and also suggests distance. It
must be a pale wash, with just a suspi-
cion of green to make it complementary
to the complexion. My space is too
limited to discuss dark backgrounds,
and, as they are unusual, I can well let
them alone, for if the print does not
possess a light background, it must be
vignetted. There is a rule, too, that the
background must repeat every color in
the picture, but this seems hardly neces-
sary in our present stage, and some of the
miniatures I noticed at the Paris Salon
had just this simple background of pale,
quiet blue.

Now to return to faces. Probably
the photographer who has got so far is
becoming more critical and ambitious
about them, and, let us hope, the cold
shadows of a platinotype print have
begun to annoy him. He is quite right:
these cold darks want warming up to
look like flesh and blood; at present
they detract from the natural look of the
face. A correspondent has asked me,
"Why do my faces look just washed
over, and not painted?" and the answer
is that the photographic look must be
taken out of the shadows. A little light
red must be used fairly dry on the brush,
and put on to the darks, and wiped at
once round with the second brush.
Such distinct shadows as in the ear,
round the nose, etc., should be worked
over twice or three times to allow for
the color sinking in.

292

VARIATIONS IN IRON-SILVER PRINTING

Probably now the face has begun to
look a little patchy, and requires some
"mending up." Those who understand
retouching will soon get into the way
of using the brush instead of the pencil,
and just spotting in the color where it
is required, which in this kind of work
is called stippling. For those who are
not retouchers, let me just explain that
stippling is putting in tiny touches with
the brush just where there is a gap, and
the color does not, as it were, join up.
The surface must be made even, and
for that reason little gaps and holes
must be filled in. The marks of stip-
pling should never show, any more than

those of retouching, and for this reason
it is advisable to use a magnifying glass.
I do not recommend too much stip-
pling; my idea is that the effect should
be gained with washes and ordinary
painting, and the stippling only used
as a means to rectify faults. This is
heresy, I know, but a photographic
miniature whose surface is one mass of
stippling has a mechanical look. Many
workers put on their washes in a casual
and haphazard manner, thinking the
stippling will be a cloak for all their
faults; but bad work, like murder, will
out, and the result is an unpleasant
effect.

VARIATIONS IN IRON-SILVER. PRINTING1

By JOHN MARTIN HAMMOND

THE iron-silver printing processes
originated in about 1894, when
Dr.W. W. J. Nicol, of Edinburgh,
Scotland, announced the discovery of a
printing method analogous to platinum,
in which the salts of silver were used
instead of the heavier metal. In the
experiments of the inventor, and in its
history, iron-silver printing, or "Kalli-
type" ("beautiful picture"), as Dr.
Nicol enthusiastically called it, has
closely paralleled the history of platinum
printing.

The theory of platinum printing, as
we all know, is the reduction of a plat-
inum salt to metal in the presence of a
ferrous salt in conjunction with a suit-
able salt of an alkali metal. The sub-
stances customarily employed in the
process are iron oxalate, potassium
oxalate and a double salt of platinum
and potassium — potassium chloroplat-
inite.

If paper be washed with a solution of
ferric oxalate, exposed to light under a
negative and washed with potassium
chloroplatinite and potassium oxalate,
an image in metallic platinum will be

1 A paper, before the Photographic Society of
Philadelphia.

formed in those places in which the light
has changed the oxalate from ferric to
ferrous condition. This was the first
practical method of obtaining prints in
platinum, and was so patented by W.
Willis in the later 'eighties. If, on the
other hand, paper be washed with ferric
oxalate and potassium chloroplatinite,
and developed, after exposure, with
potassium oxalate alone, an image
identical with the first will be obtained ;
and this is the basis of all commercial
platinum printing methods of the present
day.

The history of iron-silver printing has
been identical with that just outlined.
Silver nitrate was first used in the devel-
oper, and was next associated with the
sensitizing solution. There are several
commercial varieties of this latter paper
on the English market today. Until
comparatively recently, there were a
few on the American market. The
paper is a cheap, rapid and reliable
method of printing in silver, and its lack
of popularity is to be ascribed, proba-
bly, to the general wane of favor which
all sun-printing silver papers have suf-
fered in recent years. At least, it may
be said that the iron-silver processes
give better results in beauty of tone and

VARIATIONS IN IRON-SILVER PRINTING

293

vigor of image than any other methods
of "plain paper" silver printing.

The following is a summary of a series
of experiments to determine the value
of the various familiar methods of iron-
silver printing. It will be well to start
with silver in the developer and iron on
the paper, alone, or with merely a trace
of silver to make the image in printing
more visible.

The best silver-developing formulae
are those of James Thomson. A sum-
mary of these with Mr. Thomson's notes
is as follows:

Formula.

I II III IV

13 38

8 9

35 36

19 18

15 16

10
4

10 10

10 5

-10 5-10 5-10

1 1

Iron-ammonium citrate (grs.) 32 50 28 18

Ferric oxalate .

Cupric chloride

Potassium oxalate .

Silver nitrate

Oxalic acid .

Gum arabic

Citric acid .

Potass, bichrom. (5 %sol.)

(drops) .
Distilled water . . (oz.)

Solution I gives "black and white
effects;" II gives "softer effects," III is
"suitable for thin, flat negatives;" IV
gives "fine gradation and delicate grays."

Developer.

Silver nitrate 40 gr.

Citric acid 10 gr.

Oxalic acid 8 gr.

Sodium phosphate \\ gr.

Water 8 oz.

These formulae can be depended upon
to give the results stated. Their con-
stituents are, however, a warring lot,
the cupric chloride and silver nitrate
being, on the face of it, irreconcilable
in solution. I have found that the cop-
per may be left out of the sensitizing
solution and placed in the developer as
cupric nitrate, and a quantity of citric
acid may be substituted for the oxalic
acid. The solution will then be clear
after the addition of the silver nitrate.
I have obtained a clear solution with the
following formula:

Ammonium-iron citrate . . . . 25 gr.

Potassium oxalate . . '.• . . 35 gr.

Citric acid . . . . . . 30 gr.

Ferric oxalate 15 gr.

Silver nitrate 5 gr.

Water 1 oz.

Developer.

Silver nitrate 40 gr.

Copper nitrate 20 gr.

Water 8 oz.

No great harm will be wrought by
leaving out the copper altogether. Addi-
tion of acid to the developing solution
is not absolutely essential unless the
quantity of acid in the sensitizing solu-
tion is decreased.

For sepia tones, Mr. Thomson recom-
mends a two-operation formula consist-
ing of a salting solution of mercuric
chloride and citric acid, followed by a
bath very much resembling his formula
I with the copper left out.

The following one-part formula will,
in my opinion, give results just as
good:

Ammonium-iron citrate (brown) . 34 gr.

Ferric oxalate 15 gr.

Potassium citrate 50 gr.

Citric acid 40 gr.

Mercuric nitrate 4 gr.

Silver nitrate 8 gr.

Water 1 oz.

Increase of mercury gives warmer
tones. Development is with the silver
developer.

A very simple silver-in-the-developer
paper I have found may be made with
the following solution :

Iron-sodium oxalate .... 600 gr.
Four per cent, solution potassium

oxalate 3\ oz.

This gives great gradation of tone
with good black. Contrast may be
obtained by addition of a few drops of
bichromate solution (potassium, sodium,
or ammonium) as ordinarily used by all
gum printers. The solution will keep
for a long time if pure water be used
in its manufacture. En passant, do not
dissolve ferric oxalate in hot water.

Prints made by any of the foregoing
formulas should be fixed in a 2 per cent,
hypo and washed for fifteen or twenty
minutes before drying.

This brings us, naturally, to consid-
eration of the silver-in-the-sensitizer
papers. These will be preferred, no
doubt, by many workers. The simplest
of all formulae of this description is that

294

VARIATIONS IN IRON-SILVER PRINTING

published by Dr. Nicol in his original
patent papers. It is:

Ferric oxalate 75 gr.

Silver nitrate 30 gr.

Water 1 oz.

For black tones the developer is :

Sodium acetate 1 oz.

Citric acid 30 gr.

Water 7| oz.

For brown tones :

Sodium-potassium tartrate ... 1 oz.
Water 20 oz.

Bichromate solution is used as a
restrainer and to give contrast.

Prints made by this formula need to
be cleared after developing. For this
purpose a 5 per cent, solution of citric
acid or 10 per cent, solution of potas-
sium oxalate is efficient. Fixing is with
hypo, 5 per cent, solution. Washing
must be thorough.

Another excellent formula — and a
more recent formula — has been devised
by Robert Hall. It is:

Solution A.
20 per cent, solution of ferric oxalate.

Solution B.
1 to 16 solution ferric-potassium oxalate.

Solution C.

Oxalic acid 240 gr.

Ammonia (0.880) 100 min.

Water 4 oz.

Solution D.
1 to 16 solution potassium-bichromate.

For normal negatives take:

A 1 oz.

B | oz.

C 30 min.

D 4 drops

Silver nitrate 36 gr.

Stir vigorously while the silver nitrate
is dissolving:

It will be found that any of the for-
mulae for home-made platinum papers
can be modified to iron-silver purposes
by substituting for the standard 1 to 6
potassium chloroplatinite solution a
solution of silver nitrate made of 1 part

of the silver salt to 12 parts of water.
This opens a wide field for experiment of
an investigatory nature.

Hiibl's formula for cold-bath platinum
paper is as follows:

Solution A. 20 per cent, solution of
ferric oxalate, with 1 to 2 per cent, oxalic
acid.

Solution B. The above plus 1 per
cent, lead oxalate.

Solution C. 1 to 6 solution of potas-
sium chloroplatinite.

For sensitizing for black tones take:

Solution B . . . • . ... .4^ parts
Solution C 3 parts

If, now, a 1 to 12 solution of silver
nitrate be substituted for solution C in
this formula, and the paper developed
in any of the standard black-tone plati-
num baths, a pleasing deep-brown print
with pure whites will be the result.

The great difficulty with these silver-
in-the-sensitizer papers is to obtain good
black tones. If mercuric nitrate be
added to the sensitizing solution, in the
proportion of about four grains of this
salt to twenty-five grains of silver nitrate
used, no trouble at all will be found in
obtaining these shades. This fact,
though surprising as regarded in the
light of mercury's well-known behavior
with platinum developing papers, I have
found to be none the less true. It has
also formed the basis of a recent English
patent.

Generally speaking, the iron-silver
processes are simple in operation and
comparatively certain of result. They
are more easy and certain than gum-
bichromate printing, and are to be
recommended as a fascinating field of
experiment for all photographers inter-
ested in the more scientific side of their
hobby.

The number of tones possible with
these papers is almost endless. Iron-
sodium oxalate paper, washed with sil-
ver, gives a beautiful steel-black. Con-
taining silver in the sensitizer, it gives
a reddish-brown. Generally speaking,
the more concentrated the developer
with the silver-in-the-sensitizer papers,
the warmer the tone.

THE HENRY HENDERSON STUDIO

NEW YORK CITY

THE HENRY HENDERSON STUDIO

NEW YORK CITY

THE HENRY HENDERSON STUDIO

NEW YORK CITY

ORTHOCHROMATIC PHOTOGRAPHY1

By ALVIN LANGDON COBURN, F.R.P.S.

ONE of the most useful things about
preparing a paper on a particular
subject is that it becomes neces-
sary to examine one's own mind with
the idea of gaining a definite viewpoint.
It is impossible to explain to another a
subject with which one has not at least
a " speaking acquaintance."

When Dr. Swan asked me to collabo-
rate with him on the subject of ortho-
chromatic photography I at once agreed
to do so with the very greatest pleasure,
firstly because he is such a very per-
suasive person that it is almost impos-
sible to refuse him a request, and sec-
ondly because I was sure that in his
company I would acquire much useful
knowledge. So after due deliberation it
was agreed that he should present to
you the practical side of the process,
and that I should just jot down a few
notes regarding the use of films and
screens as they have occurred in my
work.

Writers on the subject of orthochro-
matic photography lay particular stress
on the fact that with a color-sensitive
plate and screen a truer rendering is
obtained, but they are not always very
explicit as to whether they mean visual
truth or artistic truth! The eyesight
of each human being varies slightly, in
in the same way that the artistic devel-
opment and sense of appreciation is
different in each of us; therefore it is
almost as difficult to say exactly what
is visual truth as it is to decide what is
artistic truth; each must make his own
laws in art. And so the question as to
whether orthochromatic photography is
more truthful or not than the older
non-color-sensitive variety is, to the
pictorial photographer, not so impor-
tant as the fact that it may be more
dramatic, or that it may place in his
hands a method of obtaining new and
interesting effects quite apart from any-
thing so mundane as an absolutely literal
translation of nature. It seems to me

1 A paper read before the Royal Photographic
Society of Great Britain.
(298)

a big field, and I have only touched on
the outer fringes of it, but why should
we not have a series of, say, seven or
eight screens of various colors for the
avowed purpose of producing effects as
unnatural as possible. If by this means
we could translate Kensington Gardens
into fairyland, would we not be the
gainers thereby?

The ordinary plate is to a certain
extent color-blind, but this is not
always a disadvantage, for by its judi-
cious use in certain circumstances we
may be able to obtain a more telling
result. In my own practice I almost
always use orthochromatic films, but
not always with a screen. For over
fifteen years I have hardly exposed a
plate. There are plenty of good reliable
color-sensitive films on the market, and
I have used most of the varieties at one
time or another; we may even have
some day a panchromatic film!

Color-blindness in a human being, I
have been told, results in a grayness of
vision, but a grayness of very subtle
differentiation. My friend, Mr. Henry
Smith, the inventor of the Smith semi-
achromatic lens, and an optical thinker
of rare originality, once told me that he
had been able in a number of instances
to teach color-blind people to distinguish
colors and name them with precision,
simply from their tonal values. Now the
artist-photographer who wishes to really
approach his subject with intelligence
must reverse the process and acquire a
sort of artificial color-blindness in order
to realize what his result is to be like
when translated into tone. Looking
through a piece of tinted glass may
help him at first, but the ability to
"see in monochrome" is an accomplish-
ment not to be despised. Further than
this, he must know which combination
of plate and screen (or absence of screen)
will give him the most interesting result,
with a given subject and lighting. Text-
books on orthochromatic photography
will help the beginner in this field, but
practical experience is the best teacher,

ORTHOCHROMATIC PHOTOGRAPHY

299

and soon the student on looking at a
landscape will be able to say: "Yes,
that should have a pale yellow screen,
or a deep yellow screen, or a graduated
screen!" This last is one of the most
fascinating of aids to the cloud photog-
rapher, as it enables him to get print-
able foregrounds and cloudscapes on
the same negative. As its name implies,
it is deeper in color at one end than at
the other, so that the upper or sky por-
tion is simultaneously held back and

THE HENRY HENDERSON STUDIO. NEW YORK

corrected. The most satisfactory screens
of this sort which I have used are those
made by Sanger Shepherd. They are
held in a fitting which slips over the
lens mount, and are able to slide up or
down to account for a high or low hori-
zon or a greater or lesser depth of cor-
rection. Most of the cloud slides of
mine, which you will see presently, were
made with this extremely useful screen,
fitted on a reflex type of camera; it is
thus quite easy to tell the exact amount
of correction required by consulting the
ground glass.

One of the great advantages of ortho-
chromatic photography seems to me to
be that by its aid you are able to com-
pose your color values. Quite apart
from any question of subject-matter,
you are, with the proper use of just the

right screen and exposure, able to con-
centrate your interest in a variety of
ways, and a judicious choice may change
an at first dull arrangement into one of
quite unique charm.

With a fast lens (I use one working
at//3 much of the time) the slight addi-
tional exposure required with a pale
yellow screen is not excessive, particu-
larly with such subjects as clouds, water,
or distant landscape, where the exposure
in any case is luckily short. I find an
exposure meter a great help and com-
fort, for photography at best is fraught
with a certain amount of uncertainty
which it seems foolish to needlessly
increase.

Dr. Swan insisted that I should say
something about portraiture. Now I
am not going to tell you the story about

THE HENRY HENDERSON STUDIO. NEW YORK

the red-headed girl with freckles and
the necessity of a panchromatic plate,
because you probably all know it, but I
want to say that in portrait work I
think there is absolutely no question
but that a color-sensitive plate is a very
great help in rendering skin textures.
The day has gone by when indifferent
photography will be tolerated by those
who know; we must keep up with the
times, and use every device that science
invents for us if it gives us an added

300

ORTHOCHROMATIC PHOTOGRAPHY

power. It is said by the text-books that
orthochromatic photography makes less
retouching necessary, but I would go
further than that and say that, with a
proper lens of the soft focus type, color-
sensitive plates, and a judicious use of
lighting, absolutely no retouching is
necessary; but then, perhaps, I would
be considered an extremist in this mat-
ter, for to me any sort of retouching is

THE HENRY HENDERSON STUDIO, NEW YORK

repulsive and degrading! A man spends
his whole life acquiring a face full of
nice interesting wrinkles, showing his
character, as a relief map shows the
character of the country it represents;
and then the retoucher, who may never
even have seen the sitter, laboriously
and painfully "works them out," giving
to each person a complexion resembling
nothing more than a hard-boiled eggl

Very few portrait photographers use
a screen except in unusual circumstances,
owing to the added exposure. In my

own studio the walls and carpets are a
sort of light yellow-brown, and this
reflects on the sitter in such a way that
a screen is almost unnecessary. But
out-of-door portraiture is another thing,
and here one may almost always use a
screen to advantage. It seems to me
that out-of-door portraiture is a much
neglected field. Who has not been told
of wonderfully successful snapshot por-
traits taken at unexpected moments by
inexperienced amateurs? People who
are excessively "camera conscious" are
only to be satisfactorily perpetuated in
this happy manner, and under a tree,
Nature's own studio, with a screen and
orthochromatic plates, it is possible to
obtain the most satisfactory results. -

It is to cloud photography, however,
that we turn for the most spectacular
demonstration of the use of color-sensi-
tive plates. Who of us has not sought
and admired a cumulous cloud as one
of Nature's masterpieces? It is full of
romances, of landscapes, of dreams. It
is far enough away, so that only an aero-
plane or a mountain top can profane it
by physical contact, and yet we are
able to ensnare it with our process.
Perhaps the transcription, or any art
transcription for that matter, will be a
little like a gramaphone rendering of a
human voice, as compared with the
original — you will always hear the
scratching of the needle — but as we can-
not always be hearing Chaliapine or
Caruso sing, so also it is not always
that we have an opportunity of admiring
the "towering monsters of the sky."
So we must "put something by for a
rainy day," and it is here that methods
of reproduction have their use; but it is
always well to realize that they are not
the "real thing." Life is the greatest
of the arts, and no amount of screens
and color-sensitive plates can produce
the same sensation as being face to face
with reality.

PRACTICAL PAPERS ON STUDIO WORK AND METHODS

Inexpensive Decoration

After a long and dreary winter, we are now
on the threshold of summer, and the brighter
days that we hope are at hand will make many
studios and reception-rooms look very dingy.
We may have been postponing re-decoration
until after the war, but peace is not yet in sight,
and yet we cannot possibly delay the necessary
renovations, if we are to retain the respect of
our patrons. Labor is scarce, and likely to be
scarcer, so that in the majority of cases we must
do the work ourselves, and to the photographer
who has the reputation of being a handy man,
there should be no insuperable difficulties.

The principal stumbling-block is that of
obtaining suitable materials in a convenient
form, but this can easily be surmounted by the
exercise of a little common sense. One necessary
preliminary is the acquirement of a suitable
over-all to work in. A long coat, called by painters
a "slop," or a boiler-suit as used for motor and
other engineering work will serve to keep one's
clothes clean and to allow a freedom in working
which is impossible if one has to consider the
possibility of getting paint or distemper on a
serviceable suit. Moreover, such an overall can
be instantly doffed, leaving the wearer ready for
immediate attendance upon a customer.

The necessary materials for a thorough bright-
ening-up may be said to comprise distemper,
paint, enamel, wall-paper, furniture-polish and
leather reviver, and we will deal briefly with the
preparation and application of each of these.

Distemper, in its white form, is usually known
as "whitewash," and is rarely used for anything
but ceilings. By the addition of various colors
to the whiting used as a base many different
tints may be made, while for darker colors the
pigment is used without any admixture of white.

The first step is to obtain a clean pail, either
galvanized iron or wood, and into this to break
up one or more "loaves" of whiting, mixing
this with water to the consistency of a thick
cream, and carefully breaking up all lumps.
Into this is poured melted size, in the proportion

of one pound to each "loaf" of whiting. The
mixture is well stirred and allowed to set. As a
general rule distemper so made has a slightly
yellowish tinge, to remove which it is advisable
to add a little blue. This is best done before
adding the size, by squeezing the domestic blue-
bag on to the whiting until the mixture is
decidedly blue; when dry it will be white. About
half an ounce of common alum dissolved in hot
water and added to the size will "tan" the coat-
ing and make it more or less waterproof. Various
colors may be added for walls, and these are best
mixed with the dry whiting. Burnt umber gives
a pinkish tinge. Venetian red a terra-cotta,
Vandyke brown, buff to dark oak color, and
Brunswick green pale to full green. A little
lamp-black may be added to give a gray tint to
any of these, but should not be used dry; it
should be obtained "ground in water." For
fine work the distemper, when it has cooled to a
thin jelly, should be squeezed through butter
muslin, to prevent the occurrence of streaks,
which arise from particles of unmixed color.
For large surfaces a flat distemper-brush should
be used, but for small ones ordinary paint-
brushes answer well. The color should be stiff
enough not to run down the handle of the brush
when working on a ceiling. For walls, a better
surface may be got by stippling with a "dry"
brush, as is done with oil color. One point to be
remembered is that distemper colors dry much
lighter than they appear when wet, a dark oak
when wet drying to a buff. Before beginning
work a smear of the color should be put on a bit
of brown paper and dried at the fire to get the
true value. Distemper may be applied over
ordinary wall-paper, canvas, wood, or almost
any surface. If applied thinly over faded areas
cloth or canvas it will hardly alter the surface;
of course, in this case approximately the original
color of the cloth should be used. There are
many ready-made distempers which require
only the addition of water to be ready for use,
but, as a rule, they are more sloppy in handling
and not so durable as color made as just directed.
Doors, window-frames, and skirtings should

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302

THE STUDIO

not be distempered but painted in oil, and it is
better to buy the paint in tins or to get an oilman
to mix it. If a special shade be desired, any oil
and colorman worthy of the name will mix it.
Woodwork should be washed with Hudson's or
with sugar soap and well rinsed and dried before
painting. Enamels are paints mixed with varnish
and generally dry with a glossy surface. They
are excellent for a finishing coat for inside work.
One should not be tempted to thin down paint
to a very fluid consistency. It cannot be laid
on so evenly, and is more likely to rub and spread
where it is not wanted. When painting surfaces
adjoining wall-paper or distemper, as on the
upright styles holding arras cloth or the edges
of a door-frame, it is a good plan to hold a flat
zinc plate as a protection, moving it along as
the work proceeds. An old 10 by 8 or 12 by 10
dark-slide partition answers admirably; failing
this, an ordinary stiff mount answers well, but
does not keep such a clean edge. If a matt
surface be desired, it may be obtained by
stippling with the end of a dry brush. Thinning
with turpentine alone tends to give a dull surface,
while linseed oil and turpentine give a glossy
one. To hasten the drying of oil paint, a little
patent drier may be added. This oxidizes the
oil more quickly: it should be used sparingly
with light colors, as it is yellowish in tone.

Wall-paper is not difficult to hang if the paste
is properly made. The proper way is to mix
cheap wheaten flour to a cream, with cold water,
and then to pour on boiling water until the mix-
ture thickens, just as when making starch paste.
The paper should be plentifully coated, and then
folded on itself, paste inside, for a minute or two.
This allows of even expansion, and there is much
less chance of blisters and creases if this course
be adopted.

Polished woodwork may be cleaned and the
surface revived by using a good polish.
"Revivers," which are really thin varnishes,
should be avoided, as they are apt to go smeary
and cloudy. In default of a ready-made polish, a
little vinegar and salad oil mixed in a saucer,
rubbed well on with a flannel and polished off
with a clean rag, will move dirt and leave a good
non-sticky surface. It is excellent for the black
grime often seen on studio cameras and stands.

Carpets may be cleaned without removing
from the floor, by a preliminary treatment with a
vacuum cleaner. Then a gill of oxgall is mixed
with about half a gallon of water, and applied
with a soft scrubbing-brush until it lathers.
The coating is then sponged off with clean water
and rubbed with a duster until nearly dry
This has a wonderful effect in brightening the
colors. — British Journal of Photography.

Prices and Cost Prices

In the vast majority of cases photography can
no longer be considered in the light of a pro-
fession in which the fees have no appreciable
proportion to the cost of materials used, but a
business in which the cost of production of the
finished article has to be carefully considered.
In most manufacturing establishments there is a
system of cost sheets in which the exact expendi-
ture for labor and material is shown for each

batch of articles, a certain proportion being
added to cover standing charges of rent, rates,
gas, supervision and other incidental expenses.
In this way a check is kept upon what is called
"factory cost," and it is the aim of every man-
ager worthy of the name to reduce this to a
minimum by preventing waste of time and
material and seeing that all effort is turned to
profitable account. It is, however, obvious that
such a system cannot be applied to an ordinary
photographic business, and the proprietor or
manger who wishes to know what his pictures
are costing must begin with the finished article
and work backward, finding out first his out-
put in various sizes for the year, and then the
cost of materials and labor for producing them.
In many manufacturing businesses it is the cus-
tom to add to the sum thus obtained an equal
amount to cover the running expenses of the
business, such as rent, light, fuel, rates and
taxes, advertising, and clerical or reception-
room expenses. This will give a fairly accurate
estimate of cost in most cases, but when the
rent is a high one and the non-productive staff
fairly large, it is better to work upon the actual
outlay and to put down a margin of, say, ten
per cent, to allow for any accidental omissions.
From our knowledge of photographic businesses,
we are prepared to say that very few photog-
raphers can tell what their annual production
of photographs in numbers comes to — that is
to say, to give a classified statement of the
quantities of cabinets, cartes, enlargements, and
other work sent out during the year, and still
less can they tell what they have cost.

No greater mistake can be made in conduct-
ing a photographic business than to have an
"advertising line" upon which there is a very
narrow margin of profit; it will have been noticed
by those who study such things that a firm
which adopts this course is usually upon its
last legs. Photography cannot be compared to
drapery. Customers who come to a studio for
the cheap line cannot be persuaded into addi-
tional expenditure, and those who have sup-
ported the better class of business are more
likely to drop to the lower level, or to go else-
where. It has been the practice of most of our
successful men to make every transaction a
paying one in itself, and not to trust merely to
making the business pay as a whole. In this
connection we may mention the vexed matter
of free sittings. Many photographers give these,
and some find them more or less remunerative.
On the other hand, they often absorb a goodly
proportion of the profit from better paying
business. It may be said that this can easily
be detected, but it is not so unless there is care-
ful supervision and accurate bookkeeping. The
orders from complimentary sittings may cover
the cost of all the material used, but if they were
absent, it is possible that what we may call the
legitimate business of the studio could be done
with a smaller staff. Parsimony or niggardli-
ness is out of place in a photographic business,
but thrift and economy are not. Our advice
is to use good materials, pay fair wages, but see
that there is no waste of either time or money,
and that a fair relationship is maintained
between the cost and selling prices of every line
issued. — British Journal of Photography.

Your Big Opportunity

For weeks and months to come there will be
thousands and hundreds of thousands of men
all over this great land who will enlist in the
army and navy. In their new uniforms they
will want photographs for members of the
family, relatives and friends. And in turn the
soldier or sailor will want pictures of the folks
at home for his kit. All this means increased
demand for real service and real profits for you.
It will be necessary to resort to artificial light —
to work late and hard — like our English cousins,
whom we understand have had to close their
studios, in many instances, in order to catch up
with orders. Don't you see this big oppor-
tunity coming to you? Prepare for it without
delay and be thankful. "A word to the wise is
sufficient."

The Value of a Holiday

Do you ever take a day or two off and visit
other studios in your city or neighboring town?
If not, you had better arrange to do so soon.

There are things being done, methods being
used every day, that are so simple and effective
as to be almost self-evident to the initiated, yet
which are not being used in places where the
employment would help wonderfully. Things —
new ideas — must be seen and the principles
applied, perhaps with additions and modifi-
cations in your own studio, to be helpful and
profitable where the help is most needed.

Let us urge you to visit your brother photog-
rapher. Tell him what you are doing. You
may be able to eliminate the feeling that he
can succeed and make money any old way.
Then, too, you may get a suggestion that will
make an order a welcome one and profitable
when heretofore it has always come out on
the wrong side of the balance sheet. Just
visit around, grasp ideas, and the good fellow-
ship will more than repay you. Listen to what
John H. Garo, master photographer, advises:

"Go out of doors for inspiration, then you
can find the immense and varied nature in all its
different moods. There is where your soul can
feed and expand. For a time, close your studio
behind you. Above all, when you return, be
sure that there is a bit of sunlight in your soul
and some ambition in vour heart."

Advertised Goods

There are quite a number who have
expressed their opinion that the manufacturers
of photographic goods were not aiding the
photographers by doing so much advertising.
They say they think the photographer would
make more money selling the goods that are not
advertised and that national advertising of
photographic goods prevents the photographer
selling the goods which he would like to sell
in many cases, and on which he could make
more money. This last remark made us sit up
and take notice, for if there is anything in the
world that is helping the photographic business
today, it is the national advertising of the
manufacturers. If this should be stopped
immediately, business would go back so rapidly
that photographers would find it impossible to
pay rent, stock or living expenses.

Advertising of any kind of anything con-
nected with the photographic business is a help
to that business. The more the public think
of photographs, photographic apparatus, kodaks,
cameras, etc., the more pictures are going to be
taken and the more pictures there are taken
the better chances you have of getting part of the
money.

Any article on which the manufacturers
spend large sums of money to advertise is sure
to be worth the price asked for it, and you can
guarantee it to any of your customers.

By advertising he is making more people
think of photographs, pictures, mountings, how
pictures are made, etc., and all of this helps the
business.

We all have old customers, but it is the new
customers which we want, and the advertising
of the manufacturers brings the new customers
into your studio, for they can afford to advertise
in a way that will be convincing. The more
people who have their portrait taken in your
studio, the more portraits they are going to
want.

The more of your pictures which are around
in the homes of your city, the more there
are going to be, and the photographer who
cooperates with the manufacturers and the
dealer who advertises and who sells advertised
goods, who can show to his customers the large
monthlies and weeklies in which they are adver-

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304

NOTES AND NEWS

tised, is the man who is going to have satisfied
customers when they leave his studio.

It is easier to sell advertised goods, it takes
less time, therefore the profit is greater, even
if you pay more for them.

Supposing there are three or four galleries in
the city, supposing they are all using the same
mount or folder, just the same as they all use
the same camera or lens, if one can do a better
job than the other, if one has more artistic taste,
if he can deliver service where the others cannot,
he is going to get the business, and you cannot
stop him by having a special design of mount
or folder. Your customers do not come back
to your studio because you have this special
design.

Supposing the whole bunch of photographers
in the United States could get together for an
advertising campaign. Why, they could not
afford to spend one-eighth or one-sixteenth of
what the manufacturers are spending.

Sell advertised goods and when a customer
comes into your studio and does not ask for any
particular kind, be sure and show him advertised
goods, because sometimes afterward he will see
the advertisement and he will know that the
goods which you sold him were right.

Then again, when a customer sees an adver-
tisement and reads it, you do not have to talk as
much and you do not have to use as much time
to sell him; sales talk isn't necessary because the
customer knows what he is coming after.

The larger the manufacturer and the more
he advertises, the bigger business for the dealer
and the photographer, and the manufacturer
who advertises is doing more to increase your
sales, in many cases, than you are doing yourself,
and just as long as he advertises and you co-
operate with him in every way possible, your
business is going to increase. — Ohio Photo News.

Big Convention for Missouri, Kansas, Nebraska
and Oklahoma Photographers

There is going to be one of the bigest and
best conventions from a photographic stand-
point held in Kansas City, Mo., July 17 to 21,
that has ever been seen west of the Mississippi
River. It will be four days of something doing
all the time. The best of everything is in store
for you, nothing having been overlooked. The
model studio will be built on the largest scale
ever attempted by any association and will be
run under the management of Daddy Lively,
who you all know made a howling success at
Lincoln, Neb., last year. The talent for both
the lectures and studio will be of the best. You
can't afford to miss this oportunity, and remem-
ber we have a reason for your coming. With
the help of all we will put across a gathering
this year that will place us first in convention
ranks. Lay your plans now and don't forget
the date and place — July 17 to 21, Kansas City,
Mo., Convention Hall.

Have you secured membership in the Missouri
Valley Association? If not, send your name,
address and $2.00 to Harry Pottenger, Secretary,
Wichita, Kans. We are out for 1000 members
this year. Help the cause.

Death of Addin Colwell Lane

Addin Colwell Lane, artist, inventor, and
photographer, died on May 3, at Spring Lake,
after a long and severe illness. For years Mr.
Lane had suffered from chronic myocarditis,
yet such was his love for his profession that it
was not until two years ago that he retired
from active business.

He was a New Jersey boy, a descendant from
one of the oldest Colonial families, but in early
life went to New York to study art at Cooper
Union. He had genius and a capacity for
hard work, and rapidly won respect for his efforts.
Although he spent some time in Philadelphia,
where he practised photography and did impor-
tant work in developing the use of the then
famous wet plate, Mr. Lane spent the greater
part of his life in New York City. At one time
he was associated with the Pach photographers,
and travelled extensively for them among the
colleges of the country, where he photographed
thousands of students and men of distinction.
For twenty-five years Mr. Lane practised photog-
raphy in Brooklyn, and for a long time was its
leading man in portraiture. He maintained two
establishments at one time, and attracted to his
studies not only the elite of the city, but sitters
from distant places. He exhibited pictures at
the Brooklyn Institute of Arts and Sciences, at
cities in the West, and at numerous conventions
and fairs. He was awarded several gold medals
for his work. In color photography Mr. Lane
achieved a remarkable success, and he was
recognized in the profession as a master in the
delicate art of negative modeling. He was a
sincere artist. This was shown in his posing and
lighting effects. His own words reveal the
spirit of his work: "A picture must portray the
soul of its subject — it must have a language.
Art is expressive, not mechanical." His ideal
was to elevate the artist profession, and he
always preached the brotherhood of its mem-
bers. The "Old Guard " in photography revered
Mr. Lane's ability, and generously called him
"the best photographer in the United States,"
while he was equally generous in praise of the
rising men of the "new photography."

Mr. Lane was versatile. He invented a
number of improvements for photographic
apparatus, few of which he was interested in
commercially, but at the time of his final break-
down he was at work on a lens which he intended
to put before the optical manufacturers.

Private services were held at Mr. Lane's
late residence in Freehold, and he was laid to
rest at Long Branch, N. J.

Eastman Portrait Films

A new and revised edition of the pamphlet
on the use of portrait films has just been issued.
The manipulation and proper storage of film is
very carefully described and the professional
should not fail to get hold of a copy from his
dealer, whether he now uses film or not.

NOTES AND NEWS

305

The New "Harvey Exposure Meter"

On the No. 2 Harvey exposure meter, just
put on the market, exposures are given for ^,
xo> too second, as well as all other exposures
for Graflex cameras, kodaks, motion picture,
Cirkut and other cameras. The first meter
gave 2V. to* Tfr» etc- The No. 2 Harvey expo-
sure meter now has kodak stops 1, 2, 3 (4),
in addition to the U. S. and f stop system.
The classification of subjects also is quite differ-
ent from the first meter. Some of the exposures
are faster, some are slower and many are just
the same as on the first meter.

Since making the first meter, Mr. Harvey has
devoted a year's time to making thousands of
additional tests in various parts of the country,
in order to check up the exposures given on the
No. 2 meter.

There is given the relative speed for 20 differ-
ent plates and films, so that if one wishes to
take a picture on any plate of one of the sub-
jects given, he can see the relative speed of his
plate. For the use of other plates, the plate
speed circular shows the Hurter & Driffield
number to be used on the meter.

Mr. Harvey has made a most thorough and
•careful test in determining the plate speed and
use of standard developers.

He believes amateurs would be wise to follow
the instructions given by manufacturers of
plates in developing, as the manufacturer knows
just what is in the plate and should know the
best developer for it, as he spent his lifetime and
had experts working on the proposition, and it
is natural he would publish the best possible
developer he knows for the particular plate he is
offering.

For those who develop in tanks, he calls par-
ticular attention to the importance of having
the temperature of the developer correct. A
•change of two or three degrees in developer
temperature will seriously affect the length of
time required for development.

Circular No. 11 is more extensive than here-
tofore and gives many suggestions to amateurs
on the exposure question.

It is economy for an amateur to have a good
exposure meter, and he will derive much more
pleasure from photography if he has good
pictures instead of blanks. We thoroughly
recommend this new No. 2 meter. Further
particulars can be had by writing G. L. Harvey,
105 S. Dearborn Street, Chicago, 111.

The Secret of Success

The secret of success is not a secret. Nor
•is it something new. Nor is it something hard
to secure. To become more successful, become
more efficient. Do the little things better. So
work that you will require less supervision.
The least supervision is needed by the person
who makes the fewest mistakes. Do what you
•can do and what you should do for the institu-
tion for which you are working, and do it in the
right way, and the size of your income will
take care of itself. Let your aim ever be to
better the work you are doing. But remember
always that you cannot better the work you are
doing without bettering yourself. The thoughts

that you think, the words that you speak, and
the deeds you perform are making you either
better or worse. Realize with Henley that
you are the master of your fate and the captain
of your soul. You can be what you will to be.
Forget yourself in rendering service to others.
If an employee, strive to make yourself of
greater value to your employer. Look upon
yourself as a manufacturer. Think of yourself
as being in business for yourself. Regard your-
self as a maker and seller of service, and ever
bend your thought and your energies toward
the improvement of your product. The wise
manufacturer never injures his machinery wil-
fully. Your body, your mind, your soul serve
as your plant. Eat and drink only that which
will nourish your body, entertain only those
thoughts that will enrich your mind, and if
you feed your body with the best physical food
and your mind with the best mental food you
will build up a service factory that will find its
products in constant demand. The world is
hungry for quality service. It wants to pay
for it. It is paying for all it can get. The
market is not crowded. There is a chance for
you right now. There is a chance for you
right where you are. The time to start is now.
Your reward will take care of itself. — Printing
Art.

The Auto Fixt-focus Camera

This exceptionally fine, small pocket camera
is enjoying increased popularity, and the new
prices of forty and fifty dollars are certainly
meeting with the approval of the purchasers.
This camera is now being equipped with the
well-known Wollensak Velostigmat lenses in
two speeds which adds materially to its popular-
ity. As the reader no doubt knows, this camera
embodies a very simple mechanism which per-
mits of the quickest possible setting of the
focus before the camera is opened, and further-
more, as the camera is opened, the front moves
automatically to the desired point, where it
locks. Room does not permit our going into
detail as to all the desirable features of this new
camera, but the reader is advised to write for a
descriptive booklet being sent out by the manu-
facturers, Herbert & Huesgen Company, 18 East
Forty-second Street, New York.

Minutes of the Meeting of the Federal Photo-
graphic Society, held at the New Ebbit
Hotel, Washington, May 11, 1917.

Meeting called order by the president.

Minutes of the meeting of March 30, 1917,
read and duly adopted. Correspondence from
the Photographic Journal of America, the
War Department, and Mr. H. T. Cowling, read.

The addresses of those members present were
corrected to date. Mr. E. S. Shipp and Mr. A.
Ludwig were nominated for the office of presi-
dent.

The president appointed Mr. A. J. Olmstead
and Mr. L. W. Beeson as tellers. Mr. Ludwig
was duly elected.

Mr. Shipp was nominated as First Vice-
President, and unanimously elected.

Mr. Beeson and Mr. Linsenmeyer were nomi-

306

NOTES AND NEWS

nated for Second Vice-President. Mr. Beeson
was duly elected.

Mr. E. L. Crandall was nominated as Corre-
sponding and Recording Secretary and unani-
mously elected.

Mr. A. J. Olmstead and Mr. A. A. Ruark
were nominated for Treasurer. Mr. Olmstead
was duly elected.

Mr. Carl Oswals and Mr. C. O. Buckingham
were nominated as associate members of the
board of directors. Mr. Oswals withdrew and
Mr. Buckingham was unanimously elected.

Mr. Linsenmeyer and Mr. Stenhouse were
unanimously elected as active members of the
board of directors.

Meeting adjourned.

R. C. Traver,
Secretary pro tern.

At a meeting of the Federal Photographic
Society, held at the New Ebbit Hotel, Friday
evening, May 11, 1917, the following officers
were elected for the coming year:

Mr. Anthony Ludwig, Department of Agri-
culture, President.

Mr. E. S. Shipp, Forest Service, First Vice-
President.

Mr. Boring W. Beeson, Smithsonian Institu-
tion, Second Vice-President (an honorary office).

Mr. E. L. Crandall, Department of Agricul-
ture, Secretary.

Mr. A. J. Olmstead, Department of Agricul-
ture, Treasurer.

Mr. C. O. Buckingham, Government Printing
Office (associate member); Mr. A. H. Linsen-
meyer, Geological Survey, and Mr. Walter
Stenhouse, Smithsonian Institution (active mem-
bers) were elected to serve on the board of
directors.

After the election of officers a buffet luncheon
was served, during which a general discussion of
color photography was carried on.

Mr. George Powell, finger-print expert at
Marine Corps Headquarters, Mr. Earl J.
Albright, Enlistment Division, Marine Corps
Headquarters, Mr. Carl P. Winther, member of
the staff of operators of the Prizma Corporation
of New York, and Mr. Hal G. Hall, of California,
recently appointed photographer in the Division
of Illustrations, Department of Agriculture,
attended the meeting and luncheon as guests
of the society.

The new officers have announced their inten-
tion of at once beginning the preparation of an
interesting program for the coming year and of
carrying on an active membership campaign.

Dealers and Photographers, Attention!

In buying and selling second-hand photo-
graphic lenses, it is advisable to use the utmost
care in order to make sure that the lens is
genuine. It is a well-known fact that in many
instances lenses are being sold as the product
of some reliable manufacturer, while, as a
matter of fact, the lenses have been replaced
by cheap rectilinear or by even an absolutely
worthless piece of glass, the original cells of the
manufacturer being made use of to deceive
the buyer. If a lens is not bought from a

reliable dealer it is always advisable to submit
the same to the manufacturer for test, which
tests are generally made free of charge.

A specific case of this kind has just been
brought to our attention by the C. P. Goerz
American Optical Company, of New York.

A lens bearing the engraving Goerz, Series 3,
No. 7, 14 inches focus No. 43711, was brought to
them with the complaint that the lens was not
working satisfactorily, and upon test the lens
was found to be a counterfeit of the worst kind,
and we would therefore urge all dealers and
photographers to be on their guard. Someone
had taken the mounting of a Goerz Series 3, No.
7 lens and placed an absolutely worthless piece
of glass in same, palming this off as a high-grade
anastigmat.

Prices and Business

A discussion of price conditions is not as ex-
citing as was the case a year ago, but it has its
points of interest just the same, and the difference
is of degree rather than character. The latest
advances have been in the line of apparatus, and
there have been some decidedly sharp increases
in prices. These increases have been most
noticeable in portrait cameras and stands. View
cameras have advanced about 10 per cent, and
sundry apparatus like printers, enlarging appa-
ratus, etc.

The lens situation is precarious but still un-
changed. Bausch & Lomb announce that they
are now manufacturing optical glass of several
different grades and turning it out in sufficient
quantity to supply the average demand for the
lenses most frequently used. The grades used in
some photo-engraving lenses and some types
for technical purposes they have not perfected.
Also they are not prepared to make glass in large
enough sizes to make condensing lenses of nine
inches or more. Other lens manufacturers are
still able to supply instruments, but state that
they are not at all certain as to when they will
lack a supply of crude optical glass and be com-
pelled to discontinue certain types. The cata-
logue prices have not been changed by any of
the lens manufacturers, but the discount has-
been lowered a little, which is virtually an
advance in price.

Plates and papers still continue at the same
schedule, and no news has reached us as to prob-
able future conditions one way or the other. If a
change comes, it will come without warning, so
that there is not likely to be any opportunity to
anticipate it.

Chemicals are fluctuating slightly, there hav-
ing been a slight hardening of prices in pyro and
hydrochinon during the past month. Permanga-
nate of potash has had a flurry, and for some
reason that we cannot explain has become scarce.
Some manufacturers state that they are out and
cannot supply until further notice. Others quote
an advanced price and limited supply. Bromide
of potash has advanced very slightly, but most
dealers have not changed the retail price, as so
many changes are confusing, and unless there is-
a sharp change they prefer to be satisfied with a
reduced profit.

The coal-tar developers are coming along

NOTES AND NEWS

307

nicely. A little item of interest is the proposal
to open to American manufacturers patents on
articles that they have heretofore not made
because of these patents. It appears that many
patents for chemicals, drugs and dyes are regis-
tered in the United States patent office, and, of
course, they hold good under the international
patent agreements. England and France have
set a precedent for war times, and where an
article is short and a manufacturer desires to
make it under the German patent rights he must
appear before a special court or commission and
register his desire to manufacture this article
and present costs of material and manufacture.
If the court so decides, he will be allowed to go
ahead and manufacture under a royalty, which
he must pay over to the court at stated terms.
At the end of the war, a settlement will be made
with the German owners of the patents, and
the royalties will be turned over to them and the
manufacturer will be guaranteed free from suit
for infringement.

It is supposed that the settlement of this
action will be a part of the peace treaty when
the war is over, and, of course, it is impossible
to state what the final settlement will be. If,
however, our Congress passes the law permitting
this action, American manufacturers will have
access to the formulae and processes for making a
number of articles that they have been experi-
menting with with more or less success.

It is very difficult to advise the trade of each
revised price, for paper and printing are high, and
it is impractical to get out new catalogues with
each change, even if it were possible. In the mat-
ter of apparatus, the' number of articles is great
and the catalogues are out of date between the
composition and the printing. Where purchasers
are interested in the price, the dealer will be glad
to make special quotations and offer the latest
and lowest prices.

The old saw has it that "He who hesitates is
lost, " but we beg to differ with the wisdom of our
forefathers, because we believe that because busi-
ness has hesitated it has not become lost. A
Canadian recently told of his experience when the
war began. His business hesitated so strenuously
that it went backward instead of forward, and
instead of waiting for ruin to catch up with him,
he felt himself backing up with increasing speed
until he just shut his eyes and waited for the rear-
end collision. But before ruin caught up with
him, he became conscious that he had started
a little movement of his own in the proper direc-
tion, and when he opened his eyes to what was
going on he realized that he was going at a pace
that would make ruin hump itself if it ever
expected to catch up. That nightmare lasted
some four months, and since then he has had to
put on the brakes for fear of a hot box. He states
that there is a limit to human endurance, and
that it is against the etiquette of the country to
raise prices to stop sales, so he has to limit the
number of orders he can accept.

Some shrewd business experts are predicting

that in this country we will have somewhat the
same experience, so we are inclined to preach
patience and perseverance to carry us over the
period of hesitation. We are not of those who
feel that we will have to fight off business, but
we do not feel pessimistic in the slightest degree,
and the photographer who girds up his loins
(if he has any) and works hard at his job will
have no time to kick over business conditions
due to the war. — Trade News.

A Notable Exhibit

Under the sanction of Bishop Greer, of the
diocese of New York, the present condition and
the proposed immediate extensions of the
Cathedral of St. John the Divine were shown in
the form of a model, with plans and drawings,
by Cram & Ferguson, the architects; and in
direct color photographs by Henrietta Hudson;
and in monochromes by Roger B. Whitman,
architectural and garden photographer; at Mr.
Whitman's atelier, 14 West 40th Street, New
York; June 11, 12, 13, 14 and 15.

This unique exhibit was attended with unusual
interest. Mrs. Hudson's autochroms have a
distinction of the finest and truest quality, which
have won her universal acknowledgement as
supreme master in direct color work, and we
congratulate Mr. Whitman upon the remarkable
results of his monochromes. Here is truly inte-
rior architectural photography at its best.

Liver of Sulphur Sepia Process

The following we take from the September
issue of Portrait.

In view of the constantly rising prices and
increasing scarcity of potassium bromide and
ferricyanide, I have been asked repeatedly, by
those photographers who find it necessary to
make their sepias by redevelopment, for a
toning process which would replace that method.

I have found upon experimenting that the
following formula of the old liver of sulphur
process gives beautiful sepias and tones so
quickly that by heating to the desired tempera-
ture, it can be used, eliminating the constant
heat. Thus, we find it possible to use it for large
prints (too large to be put into the hypo-alum
bath), by heating the toner and pouring it over
them in the trays. At from 90° to 100° F. this
bath will tone a print of ordinary density in
from three to five minutes, and produces a tone
which I think preferable to those obtained by
redevelopment.

The formula is as follows:

Water 1 gal.

Liver of sulphur .... 60 grs.

Stronger water of ammonia (28

per cent.) 3 drs.

Phil. B. Keeler.
San Francisco, June 16, 1916.

CORRESPONDENCE

Correj-pondentJ should never write on both sides of
the pdper-*^ No notice is taken of communications unlexx
the namcr GX addresrcs of the writer/ are given *- *•
We donot undertake responsibility forthe opinions expressed ty our correspondents

WORTH-WHILE LETTERS ON LIVE IDEAS

FROM OUR CONTRIBUTING EDITORS

Mounting and Finishing

To the Editor:

Sir: About two years since I was very much
troubled with very fine scratches in burnishing,
different from those caused by roughness of the
burnishing tool. Another proof that the cause
lay outside of the burnisher, was that two or three
perhaps would burnish all right, then one
scratched badly, next all right, and so on through
the lot. I finally found the cause to be that the
prints were allowed to get too dry before burnish-
ing, and the remedy I used was as follows:
After mounting, the moisture should not get
out of the prints before burnishing. As soon as
the prints begin to curl toward the picture, I
pack them one upon another. My first plan was
to place them in the cellar until ready to spot;
while doing this I only expose one print at a time,
keeping them packed. After spotting, lubricate
with soap and alcohol (I find wax, spermaceti,
etc., to give, in my experience, a veiled appear-
ance), and spread out in the cellar upon some-
thing clean. I use a cloth stretched upon a
small frame, where they should remain until
ready to burnish. A superior burnish will result
if they can remain twelve hours after lubricating
as directed, spread in the cellar. I have since
made another improvement, substituting for
the cellar a tight tin box, which I had made
large enough to hold my prints flat. Care must
be taken not to have the prints too damp. I
run them through, lightly, twice across the
burnishing tool, until all are through, then run
about four times again, commencing with the
first; I run the first thin.

I find the following to serve admirably as a
"lubricator:" A. Paraffin, 8 drams; benzine,
10 ounces. B. In a mortar grind gum ammonia-
cum 30 grains, in alcohol sufficient to prevent
the gum from sticking to the pestle. Add A and
B together, shake well, and apply with a flannel
rag or sponge.

John D. Clemonds.

May 22, 1917.

To Print on Linen or Silk

To the Editor:

Sir: To Print on Linen. Make a salting solu-
tion of two grains of chloride of ammonium to
every ounce of water. Make a sizing solution of

Water 1 oz.

White glue .... 2 gr.
(308)

Soak the glue in hot water until it is dissolved,
and then apply the solution to the part to be
printed upon. When dry, apply the silver solu-
tion with a tuft of cotton, shielding the unsized
portions of the linen. Fume when dry, and print
in the usual way, or in the handkerchief printing-
frame. Tone in your usual toning solution, fix,
and wash well, using hot water for the final
washing.

Printing on Silk. Pour 20 ounces of boiling
water on 100 grains of chloride of ammonium
and 60 grains of Iceland moss. When nearly
cold, filter, and immerse the silk in it for fifteen
minutes. To sensitize, immerse the silk in a
twenty-grain solution of nitrate of silver for
sixteen minutes. Let the nitrate bath be rather
acid. When dry, prepare for printing by attach-
ing the silk to a piece of cardboard a little smaller
than itself, by turning the edges over and fasten-
ing with small bits of gummed paper; slightly
over-print. Wash in two or three changes of
water, and tone in a gold bath, thus:

Water . . .
Acetate of soda .
Chloride of gold .
Common whiting

20 oz.

2 dr.

4 gr.
a few grains

Filter, and keep for twenty-four hours before
using. Let the prints be toned slightly bluer
than required to be when finished. Rinse them
in water, and fix in a solution of hypo, four
ounces to the pint of water. Twenty minutes
is ample time for fixing. Wash well.

George W. Philips.

May 8, 1917.

A Simple Printing Mask

To the Editor:

Sir: To print neatly and expeditiously from
small-sized film negatives the following will be
found a convenient method: Use any printing
frame larger than the size of negative, place a piece
of plain glass in same, and paste a sheet of opaque
paper on the outer side, in which an aperture has
been cut a trifle smaller than the size of negative.
On the inner side of the frame place a piece of
stout cardboard with an opening cut in the centre
the exact size of negative. This simple appliance
will be found a great time saver, as film and
paper are merely dropped into the opening in the
cardboard, frame closed and exposed.

George Rogers.

THE WORKROOM

By t3e JJeacT Operator

A Collection of Facts

Dark-room Pointers

Cleaning Measure Glasses

Using A Developing Tank

Get Your Prints Off

Keeping the Background Plain

Reproduction of Black and White

Dark-room Switches

Enlarged Negatives Quickly

Comfort in the Dark Room

Workroom Recipes

Reducing Overdeveloped and Fogged Negatives

An Improved Persulphate Reducer

An Easily Made. Inexpensive Studio Shutter

Red Bromides

Concerning Second-hand Apparatus

Simple Background Painting

Rescue Work among "Hopeless" Negatives

Tools and Their Users

To Remove Wrinkles from Backgrounds

The Best Type of Negative

Direct Positives on Bromide Paper

Preparing Negatives for Printing

A Collection of Facts

Here are formulated a collection of facts
in the form of if's and don'ts, from which the
following statements have been compiled to
apply to all developers, in a general way.

Before you knock, investigate the cause of
your complaint — look at our list of questions.
If you are beyond those questions, the fault is
certainly not with you.

The usual troubles are: impure or grayish
whites, greenish or brownish tones, contrasty,
or weak prints (lacking detail), flat or "muddy"
prints, or too dark prints, yellowish or brownish
stains, round dark spots, blisters, discoloration
around edge of prints, curling or cracking of the
surface, round white spots, surface marks (on
glossy paper), etc.

The following questions will point out a remedy
for the usual photographic troubles.

1. Are you a careful operator, or do you
carry developer in your hands over to the fixing
bath, and vice versa?

2. Is there anything wrong with the negative?

3. Are you exposing right, or are you over-
or under-exposing?

4. Is your laboratory too warm, or damp, or
exposed to chemical fumes, or sewer gas?

5. Is your balance accurate?

6. Are the weights accurate?

7. Any mistakes in the weighings?

8. Is your water pure and clean?

9. Are your chemicals pure?

10. Did you mix your chemicals in the proper
order?

11. Was the solution clear before you added
the next chemical?

12. Is your developer too old?

13. Are you "forcing" your developer?

14. How long are you developing?

15. Are you "spreading" your developer
properly?

16. Is the amount of potassium bromide right?

17. How about the temperature?

18. Is the temperature of all the baths about
the same (65° F. to 70° F.)?

19. What paper are you using?

20. Is it suited for your purpose?

21. Is it "too dry," or has it been spoiled by
light, fumes, or otherwise?

22. Are you printing too close to light?

23. Did you allow prints to cool before devel-
oping?

24. Did you move prints about, while in the
different baths?

25. Did you look out for air "bells" and
"bubbles?"

26. Did you crease or break any prints while
washing?

27. Did you let the water run from the tap
directly on the print?

28. Did you have sufficient hardener?

29. Was fixing bath acid? W7as it milky?

30. Do you wash thoroughly?

After this, blame your materials. — Northern
Photo News.

Dark-room Pointers

1. The use of distilled water in the prepara-
tion of all photographic solutions will increase
efficiency over 50 per cent.

2. "Old " developing solutions may be brought
up in speed and intensity by adding a little fresh
developer occasionally.

3. All prints should be exposed long enough
so as to insure complete development in about
one minute's time; but avoid over-exposing as
far as possible.

4. When development is complete, immerse
prints immediately in acid "check bath" (1 oz.
acetic acid in 32 oz. of water). This will harden
the prints and minimize any tendency to stain-
ing.

5. In a nutshell: develop; check; fix; wash
thoroughly — there's a lot in that, if done right.

6. Glossy papers are prone to yield abrasion
marks; these are easily prevented by using a
few drops of a 20 per cent, solution of potassium
iodide. — Northern Photo News.

(309)

310

THE WORKROOM

Cleaning Measure Glasses

For cleaning graduates which have become
stained in use, go to the pantry and get the
vinegar bottle; pour some into the graduate
and also add a small quantity of coal dust —
say a tablespoonful. Well wash the graduate
with the above solution, allowing the small
coal to swill round the inside with the vinegar.
I have found this a quick and effective way of
cleaning the graduate when the commercial
hydrochloric acid usually recommended is not
to hand. — Amateur Photographer.

Using a Developing Tank

One day I determined to use the time and
temperature method of development, and
obtained a metal daylight developing tank for
the purpose. My first attempts were not suc-
cessful, however, as the plates when finished
were badly streaked with mysterious horizontal
markings, stretching . from side to side of the
plates. I was somewhat at a loss to account
for the trouble until it struck me that the develop-
ing solution was very slow in filling the tank,
and it was not always possible to keep up a
good steady flow of solution so that it evenly
covered the surface of the plates. We are told
in text-books on development that it is a bad
plan to soak our plates in water before develop-
ment, as it is a productive source of air-bells.
Anyhow, I thought I would try filling up the
tank with plain water for a few moments. This
I did, and then filled up with developer and
developed as usual. I obtained six excellent
negatives as the result, quite free from markings
of any kind and with no trace of air-bells or fog.
I have in consequence adopted this method for
all my plates, and have obtained some dozens
of quite good and satisfactory technical nega-
tives. My theory is that when the plates are
first soaked in water the film becomes somewhat
like a sponge in character or a sheet of blotting-
paper, and the developer, instead of having to
rely upon the gradual upward rush of the in-
creasing volume of liquid for its distribution
over the film, soaks its way over the gelatin and
thus prevents the formation of a hard and
straight line, which is probably the cause of those
marks on the negative. — Amateur Photographer.

Get Your Prints Off

Good work won't always make a good business.
It is important to give your customers what
they want — but it is just as important to give
it to them how they want it and when they
want it.

It may very well be laid down as an axiom
for the professional photographer that when
proofs are delivered quickly the chances of
getting a big order are increased, and that when
the order is delivered promptly the chances of
getting a re-order are also increased.

When photographers used nothing but day-
light printing processes, the weather was often
blamed for delays in getting out orders. But
customers will not listen to the weather excuse
now. They know that most of the work is
printed by artificial light; and that, when there

is a delay in the delivery of their orders, the
fault lies with the photographer and not with
the weather.

A professional, whose aim is to make progress,
cannot hold on to the old methods of printing;
he cannot afford to get behind with his orders;
and he cannot afford to lose customers. The man
who takes advantage of modern inventions for
rapid artificial-light printing gets his work out
quickly, pleases his customers and increases
his business. More than that, he is in a position
to take on special work which the man without
these facilities would not be able to touch.

Take, for example, two photographers in a
small town. One uses a modern printing
machine, and the other uses an old-fashioned
printing frame. Some event of local interest
takes place in the town. Both photographers
make negatives. The man with the printing
machine gets at least two hundred prints out
within a few hours, and makes his sales; the
other man is not able to get out more than a
few dozen copies, which remain unsold.

The photographer who wants to get his work
finished and delivered in good time, must fit
up his workroom with one of the modern print-
ing machines. — Photo Digest.

Keeping the Background Plain

Whatever we select for the background, we
must remember to arrange it in one of two ways.
Either it must appear in the picture as a perfectly
smooth tone, without any suggestions of detail
or form, or else it must suggest or indicate its
nature and form, in which case it must be the
subject of careful attention. So many of the
photographs which are made fail in this respect.
It is evident from them that the photographer has
hung up a sheet or some similar thing to serve as
a plain background but that he has taken
no further pains to get it plain. The consequence
is that creases, or folds, or texture, or dirt marks,
or one of the many things that ought not to
show where all is to be plain, do show, and by
the otherwise plain character of the background
they are specially conspicuous.

Therefore, we lay stress on the need to stretch
the paper on a card or board. It should be
paper without any very pronounced grain. It
should be sufficiently far behind the actual
subject of the picture to be out of focus; although
this should not be detected, as it should have
no detail or other irregularity of surface to show
whether it was in focus or not. It is sometimes
possible to hide any irregularities by moving
about the background during the exposure; but
there is always a risk in so doing of moving the
subject also.

The tone of the background need not be alike
all over. It may be graduated so as to be lighter
on one side than the other; and a very beautiful
and even graduation may be obtained very
simply by using a large enough background
and bending it into a curve, so that one part
catches the light more than another.

A somewhat similar set of considerations
applies to the surface on which the subject is
to be placed. Sometimes a long strip of card
or paper can be used to support the subject

THE WORKROOM

311

and to come up behind it also and serve as the
background ; but it is generally more satisfactory
to indicate both a horizontal and a vertical
surface. In that case we get a horizontal line
across the picture, where the background meets
the "floor;" and it is well to have this far enough
behind the object to be fuzzy. At the same time
it should be straight, and there should not be
any signs of an imperfect junction, such as we see
when the roller of a reliable background is
allowed to lie on the floor— a fault frequently
noticeable in amateur portraiture.

On a small scale, we can deal very well with
such a case by arranging the object on a sheet of
card on the table, with a fair extent of card
behind the object, ending in a straight, clean
edge. The background is supported separately
a few inches behind this edge, and carried below
it, so that the bottom of the background is not
seen from the lens at all. It is difficult to explain
why, but this method seems to give more relief
or solidity to the object than most other methods;
whatever it is we are photographing does not
appear to have a background pushed close up
against it. — Photography.

Reproduction of Black-and-white

In the reproduction of subjects in black-and-
white — that is, manuscripts, engravings, line
drawings, plans, etc. — a method must be em-
ployed entirely different from that made use
of in reproducing subjects having half-tones or
gradations of light and shade.

We must have an entirely different mode of
illumination, and must endeavor to get rid of
the grain of the paper, or rather the shadow
of the grain. A flat light is indispensable, and
this is best secured out of doors, the illumination
coming from the front.

First let us consider the kind of plate. For
some kinds of work the so-called process plate
or photomechanical plate may be made use of;
but if the original is an old manuscript such a
plate is not as good as a quick bromide plate,
but the best kind of plate for old documents is
an orthochromatic plate.

Mr. F. E. Ives recommends the following
method for orthochromatizing an ordinary
plate. Dissolve one grain erythrosin in four
ounces alcohol. Filter the solution. Bathe the
plates in this for two minutes, rocking the tray,
then wash in distilled water and dry.

As regards exposure, it is best to make a trial
plate for varying periods. Give the whole plate
thirty seconds, then push in the slider a certain
distance, giving forty-five seconds, or fifteen
secoads more, and so until you give ninety
seconds. One cannot get the best results with-
out ample exposure, but excessive exposure is
to be avoided, as it clogs up the lines and defeats
efforts after density. The lines in the negative
should be clear glass and the page dense
black.

The Development. Pyro is capable of giving
density, but it has a tendency to veiling
or of showing the characteristic pyro stain.
Hydroquinone is preferable to any other agent.

Lumiere's formula is perhaps the best:

Hydroquinone 8 gr.

Sodium sulphite (gran.) ... 80 gr.

Formaldehyde 1 dram

Distilled water 1 oz.

This contains neither alkali or bromide, but
yields very intense negatives. In cold weather
this developer must be warmed to 70 degrees.

The main thing to be observed for black-and-
white work is clear lines, so if it should happen
that your developer gives any indication of
veiling stop developing at once, wash off and
fix thoroughly, and again wash well from hypo.

If on examination any sign of veiling is visible
in the negative, it will be absolutely necessary
to clear up the plate before intensification.

Belitzski's formula is good:

Potassium ferric oxalate . . 10 gm.

Sodium sulphite (gran.) . . 8 gm.

Oxalic acid 3 gm.

Hvpo solution (I) . . . . 50 c.c.

Water 200 c.c.

Flow the plate over with this until the lines
are clear glass and then wash.
Another clearer (Bartlett's) is:

Perchloride of iron (ferric chloride) 60 gr.

Citric acid 120 gr.

Water 16 oz.

Bathe the negative in this and then thoroughly
wash.

A good intensifier is iodide of mercury, made
by adding a solution of potassium iodide to a
solution of mercuric chloride (10 per cent,
solution) until the brilliant precipitate formed
just redissolves. After intensification, soak for
ten minutes in sodium sulphite and wash.

Pencil drawings sometimes gives much trouble
in copying. A piece of very fine ground glass
placed in close contact over the pencil drawing
in a printing frame, and the copy made through
this, gives better results than direct copying.

Blue prints are, of course, hard to reproduce.
A yellow screen placed in front of the print turns
the lines into a dirty green. An orthochromatic
plate is then made use of.

The paper employed will depend upon the
character of the print required. Platinum, of
course, may be made to give rich black lines,
but bromide paper,, properly treated, gives as
good results at much less cost.

Ferrous oxalate must be used, about one part
of iron solution to five parts of oxalate solution.
Add the iron to the oxalate and about five drops
of 10 per cent, solution of bromide of potassium
and five drops 10 per cent, solution of citric
acid to every six ounces of developer.

Dark-room Switches

In any dark-room the provision of a full
flood of white light is a means of preserving
cleanliness and order, which should on no account
be neglected. All the better, on the score of
ventilation, if the white light is that from an
open window, but if it is electric, then care

312

THE WORKROOM

requires to be taken that the white light cannot
be switched on by mistake or through the fault
of an assistant unfamiliar with the dark-room
arrangements. We have been in dark-rooms
where the most elaborate system of wiring has
been adopted in order to obtain automatic
security in this respect, and in some instances
have noted that such complicated connections
were apt to break down in practice. One of the
simplest means by which to avoid the mischance
of switching on white light is to place the switch
fairly high up on the wall so that the hand has
to be raised well above the level of the head in
order to operate it. The drawback to this is
that it is beyond the reach of assistants of small
stature and, therefore, perhaps a more generally
serviceable plan is to provide the white switch
with a thin wooden casing or fence into which,
either from above or below, the hand requires
to be thrust in order to complete the electrical
circuit. With a guard of this kind any switching
on of white light cannot be said to be due to
mere carelessness, but is an act of pure mischief,
for which an assistant could not expect to escape
reprimand. — British Journal of Photography.

Enlarged Negatives Quickly

One of the methods for the making of enlarged
negatives, which apparently is not so generally
used as it deserves to be, is particularly suitable
for the purposes of a professional photographer,
who has usually at his disposal the large camera
which is required. It consists in making from
the small negative a print on glossy or semi-
glossy print-out paper of depth which looks
just right, that is, is not over-printed as for
toning. The copying camera having been set
up and adjusted according to the degree of
enlargement required in the enlarged negative,
this print is then copied, enlarged, upon a
plate of medium speed. This can be done
by either weak daylight or artificial light,
without the print suffering in any way during
exposure, although it should not be exposed
longer than can be helped and, therefore, focus-
ing should be done in advance upon a piece of
printed matter, the place of which is taken by
the P. O. P. print when all is in readiness for
exposure. We recently saw in an acquaintance's
studio a very neat accessory for facilitating the
use of this method in conjunction with the
ordinary studio camera. It consisted of a long,
narrow, and light baseboard, at the end of which
was fixed, at right angles, a small easel for the
support of the print. The studio camera had
been slightly adapted, so that this baseboard
could be slid under a pair of guides secured to
the camera baseboard, and the small easel thus
be placed at any required distance from the lens.
Undoubtedly, for all copying work a camera
set apart for the purpose is the better plan,
but in this case the appliance could be made
ready for operation in a minute or so. — British
Journal of Photography.

Comfort in the Dark-room

The average dark-room is often an uncom-
fortable place, but in seeking to remedy this
state of things it is useless to proceed on wrong

lines. Ventilation, or the want of it, is, of
course, one of the chief defects, but unfortu-
nately so little is generally known of the first
principles of good ventilation that the remedies
attempted are often ineffective. There is in
general a vague idea that the discomforts of
bad ventilation are due to the exhaustion of the
oxygen and the increase of carbonic acid in the
atmosphere. In an hermetically sealed room
both things will doubtless happen in course of
time, but no ordinary room, not even the aver-
age dark-room, is hermetically sealed, and the
result is that a certain balance between the two
gases is always preserved, the carbonic acid
never increasing beyond a certain very small
amount, and the oxygen never diminishing below
a quantity that is amply sufficient for breathing
purposes. The experiments of Dr. Leonard Hill
have shown that even in the worst cases of want
of ventilation the discomfort felt is due to want
of movement in the air and to unsuitable tem-
perature, the immediate cause of the discomfort
being the stoppage of evaporation from the
body. It can easily be understood that if a man
is in absolutely still air at nearly body tem-
perature all evaporation will cease, and so he
will develop symptoms of self-poisoning. To
explain in other words, the effects of want of
proper ventilation are simply an exaggerated
version of those produced in all people in still,
hot, damp, muggy weather. We may be out in
the open air and yet experience just the same
sensations as those felt in a close unventilated
room. The lassitude which all attribute to the
weather is only a first stage of the exhaustion
felt in the room, and in neither case can the bug-
bear of carbonic acid be justly credited with the
discomfort. This unfortunate gas has even been
credited with the property of causing prints to
fade and with various other crimes beyond that
of suffocating dark-room operators, but such
theories may safely be disregarded. We have
also quite recently seen an article in which the
well-known headache effects produced by the
red lamp on some persons have been attributed
to carbonic acid and bad ventilation. There is,
however, no room to doubt that the light itself
is prolific cause of dark-room headache.

The chief ills of the dark-room may be enum-
erated as follows: (1) stagnation of the air or
want of movement; (2) excessive warmth; (3)
excessive moisture; (4) foulness of air due to
lack of proper ventilation in the form of exhaust;
(5) eye strain due to too feeble or bad lighting,
or to red light. Taking these in order, the most
efficient remedy for the first defect is a fan inside
the room, arranged to keep the air circulating,
independently of any similar apparatus that
may be used for pumping air either into or out
of the room. A less effective, but still a working
substitute, is an open coal or gas fire in cold
weather, while a running tap or a gas burner
will even help somewhat. The second trouble
of excessive warmth is somewhat difficult to deal
with. Cold air pumped or drawn into the room
is, of course, effective, but in our experience a
continual stream of cold water running through
a large dish is by no means to be despised as a
cooling agent. Excessive dampness will only
lead to discomfort when combined with intense

THE WORKROOM

313

warmth, and while a dark-room is always damp,
as evidenced by the readiness with which metals
rust, this will not lead to oppression until the
air becomes warm and also saturated with extra
moisture given off by exhalations. Foulness of
the air is best dealt with by a good exhaust
system. Pumping fresh air into the room will
not get rid of the foul smell so rapidly, while it
tends to add to discomfort by increasing the
atmospheric pressure. Exhaustion relieves the
pressure and also rapidly sucks out all foul-
smelling emanations. Gas burners are also a
good remedy for foulness, as they create a big
draught and purify the air by burning up offen-
sive matter. The last cause of trouble, the light,
is one that is much neglected. Eye strain is the
commonest cause of headache, and this may be
induced by endeavoring to see either by a feeble,
inefficient light or by a red light, in which many
people are quite unable to see acutely without
very great effort. The main reason is simply
that the eyes cannot accurately focus themselves
upon red, and the continued effort to do so
soon gives rise to headache. As a matter of
fact, red safelights might well be dispensed with
altogether. Neither yellow nor green light
seems to have any injurious effect on the eyes,
and with the yellow and the green safelights
now upon the market all the requirements of
safety as regards plates can be complied with.

While on the subject of light it is also worth
while considering the white light employed, for
in some cases when no development is going on
the dark-room is used for other purposes for
long periods of time. There is no doubt whatever
that many people find electric light very trying
to the eyes, but whether this is due to the
nature of the light or to the form of the lamp is
a little uncertain. The trouble due to the elec-
tric lamp has often been obviated by resorting
to the old type of upright incandescent gas-
burner, the illumination from which is mostly
reflected from the ceiling. The more modern
inverted burner, however, imitates the electric
lamp in form, and there is some reason to believe
that this form of gas lighting gives nearly as
much worry to some people as the electric lamp.
There is no doubt whatever that the best way
to light a room is by light reflected from the
ceiling, and no room of any kind can be consid-
ered to be properly or safely lighted if the ceil-
ing is in shade. Half the trouble with electric
light is probably due to the fact that the lamps
are nearly always in full view and not properly
arranged so as to be invisible, while the other
half may be due to the composition of the light,
which is not nearly so white as that given by
gas.

To sum up the conditions conducive to com-
fort we may put, first, the provision of a fan to
keep the air circulating. This need not always
be going, and a clockwork fan can be run at no
expense. Second, an efficient exhaust is wanted,
with adequate fresh-air inlets. Owing to the
necessity of keeping out light we cannot well
rely on so-called "natural" ventilation, which is
dependent mainly on the provision of large and
ample openings for the admission and exit of
air. We must have some artificial system, and
an exhaust fan is certainly the best, while we

strongly deprecate any attempt to force air into
the room. The inlets should, of course, be fitted
with dust-filtering screens which should be
renewed frequently. An efficient exhaust near
the ceiling will also keep down the temperature
of the room, while it will also keep the room free
from chemical fumes. As regards lighting, we
would much like to see the abolition of red safe-
lights altogether, and the substitution of green
lights in their place. This we would recom-
mend, and also the abolition of all open
unscreened white lights. The general illumina-
tion of the room should be solely by light
reflected from the ceiling. Open lamps may be
required for printing purposes, but these should
also be so far enclosed that the worker may not
see the lamp itself while he is making the
exposure.

One other item conducive to both physical
comfort and health is the abolition of cold or
damp floors. The floor should be waterproof,
so that any spilt fluid may be readily mopped up
or swept away. Neither stone nor cement, nor
any similar cold material is at all advisable,
even if covered with wood grids, for these latter
prevent the mopping up of liquids, while they
are painful to the feet after long standing. There
are some patent compositions that make very
good floors, but in general we think there is
nothing will beat, as regards efficiency and cheap-
ness, a wood floor covered with good lino, well
cemented down with waterproof joints, and
waxed over now and then on cleaning days.
One more matter often neglected is the height
of sinks and benches. These should never be
so low as to necessitate stooping over the work.
For standing work 3 feet to 3 feet 3 inches is
the proper height for a bench, and a developing
sink may be 3 feet 6 inches with advantage.
The ordinary table height of 2 feet 6 inches is
too low for any work that is not done sitting,
while if seats are required high stools can be
used with the higher benches. Too low a bench
means backaches as well as headaches, and it is
detrimental both to health and efficiency. —
British Journal of Photography.

Workroom Recipes

1. Blackening Brasswork. Prepare two solu-
tions. Copper nitrate, 200 gr.; water, 1 oz.
Silver nitrate, 200 gr.; water, 1 oz. Mix, clean
the articles thoroughly, ahd then place in solu-
tion. Remove and heat strongly.

2. Dead Black Varnish. Benzol, 1000 parts;
India-rubber in shreds, 6 parts; asphaltum, 300
parts; lampblack as required.

3. Dead Black for Woodwork. Shellac, 40
parts; borax, 20 parts; glycerin, 20 parts; water,
500 parts. After dissolving add 50 parts anilin
black.

4. Dead Black for Wood, (a) Borax, 30 gr.;
glycerin, 30 minims; shellac, 60 gr. ; water, 1 oz.
Boil till all dissolves and add nigrosin W. S., 30
gr. (b) Copper chloride, 75 gr. ; potass, bichro-
mate, 75 gr. ; water, 2\ oz. Paint with this, let
dry, and apply: Anilin hydrochloride, 150 gr.;
water, 2\ oz. Wipe off any yellow powder that
forms, repeat process till black enough, and
finally rub over with boiled linseed oil.

314

THE WORKROOM

5. Black for Aluminum. Clean with fine
emery, wash well, and dip rapidly in: Ferrous
sulphate, 1 oz.; white arsenic, 1 oz.; hydrochloric
acid, 12 oz.; water, 12 oz. When the color is
deep enough dry off with fine sawdust and
lacquer. The metal should be very rapidly
dipped and as quickly withdrawn from the mix-
ture and allowed to drain, repeating the opera-
tion, if necessary.

6. Liquid Glue. Swell glue (8 oz.) in water (10
oz.). Dissolve on water-bath and add slowly,
with constant stirring, nitric acid, sp. gr. 1.33
(2 1 oz.). Keep well corked.

7. Damp-proof Glue. Dissolve common glue
in the smallest possible quantity of water, and,
while hot, add one-quarter its bulk of linseed
oil, stirring rapidly during the addition.

8. Cement for Vulcanite. Sulphur, 1 part;
caoutchouc, 3 parts; alcohol, 6 parts; bisulphide
of carbon, 100 parts. Mix alcohol and bisul-
phide, and then dissolve caoutchouc and sulphur
therein. Evaporate to consistency of thin paste.
Join the fractured edges with this and heat the
whole to about 300° F. for four hours.

9. Marine Glue. India-rubber shreds dis-
solved to saturation in crude benzene, 1 part;
shellac, 2 parts. Mix by aid of heat. — Jeffrey.

10. Cement for Porcelain Dishes. Water-glass,

6 parts; fish glue, 4 parts; precipitated chalk, 1
part. Rub down to a paste, brush over broken
surface, press into contact, and dry in warm
place.

11. Sulphur Cement for Porcelain. Sulphur,

7 parts; white pitch, 5 parts; bleached lac, 1
part; mastic, 2 parts; elemi, 2 parts; finely-pow-
dered glass (this must be as finely ground as
flour), 7 parts. Melt the first five ingredients
together by heat, and finally stir in the glass
powder, which should be shaken in through a
fine sieve.

12. Cementing Glass to Glass or to Metal.
Heat guttapercha and shellac (equal parts) in
a jar placed in a saucepan full of sand, which,
when placed on the fire, enables the mixture to
be melted; or mix glycerin and litharge in very
fine powder to dough-like consistency. In
mending dishes moisten first with glycerin,
then apply the cement and bind together for
a day or two. Or dissolve thin shreds of gela-
tin to saturation in acetic acid and fill into small
bottles. Stand the bottle in hot water before
use. This is known in the jewelers' trade as
"Diamond" or "Armenian" cement.

13. Cement for Leather. Guttapercha in car-
bon disulphide, made syrupy. Use hot.

14. Guttapercha and Paraffin Wax Varnish.
Very suitable for waterproofing dishes. Take
equal parts of wax and gutta, melt the gutta in a
saucepan, add the wax, and mix thoroughly.
Apply hot.

15. Water-tight Varnish. Brown resin, 8 oz.;
beeswax, 2 oz. Melt together in a tin pan,
and, when quite fluid, coat the dish, which
should be quite dry and warm.

16. Waterproofing Wooden Dishes, (a) Inside
and out, two coats each of Brunswick black.

(&) Asphalt (1 part) in benzol (20 parts).
Two coats.

flat-iron. Melted paraffin, used in the same way,
also answers well.
(d) Shellac varnish.

17. Waterproofing Wood. Asphalt, 4 oz. ; pure
rubber, 30 gr.; mineral naphtha, 10 oz. Apply
three coats with a stiff brush, drying after each.

18. Varnish for Wood. Useful for inside of
wet-plate slides, etc. Sandarac, 4 oz.; Colum-
bian spirit, 12 oz. Dissolve and add 200 gr.
Venice turpentine.

19. Varnish for Brass. Celluloid, 7 gr.; amyl
alcohol, ^ oz.; acetone, \ oz. Used cold.

20. Black Varnish. Benzol, 10 oz.; turpentine,
1 oz. ; masticated rubber heated to fusing, 100
gr. Dissolve the rubber in the benzol and
turpentine; add 4 oz. of asphaltum, broken
small.

21. Elastic Caoutchouc Varnish. Heat 2 parts
of common resin in a saucepan until it gives off
a vapor; add 1 part of caoutchouc, and stir
until thoroughly mixed; then remove pan from
stove and add 2 parts linseed oil; heat well and
stir until quite cold.

22. To Clean Bottles — from photographic solu-
tions: Spirits of salts mixed with equal bulk of
water.

from greese: Commercial benzol followed

by strong soda solution.

from varnish: Columbian spirit (10 parts)

and ammonia (1 part); then ammonia and water
(1 in 10), and, lastly, water.

23. Ink for Glass Bottles. Dissolve powdered
copal (60 gr.) in warm oil of lavender (1 oz.)
and mix on a stone (with a palette knife) with
lampblack (6 gr.) and indigo (2 gr.).

24. Lute for Ether, Spirit, etc. Melt good glue
(3 parts) in hot water (9 parts) and stir in
glycerin (2 parts). Color with anilin dye and
dip necks of bottles (free from grease) in mixture.

25. White Ink. Gum arabic, 1 oz.; water, 4
oz. Strain through muslin and add enough zinc
white to make the ink smooth. Rub up on a
glass plate with palette knife or glass muller.
If too thick dilute with water. To preserve add
a few drops of carbolic acid.

26. Fine Matt on Glass. Dissolve gelatin (20
gr.) and sodium fluoride (20 gr.) in warm water
(1 oz.). Pour over glass, allow to set while
level, and leave to dry; then immerse in hydro-
chloric acid (^ oz.) and water (8 oz.) for thirty
seconds and set up to dry. Fine matt on
cleaning off the gelatin.

27. Silvering Mirrors — Drayton's Process. — A
mixture is made of 1 oz. of coarsely powdered
nitrate of silver, \ oz. of spirits of hartshorn,1
and 2 oz. of water, which, after standing for
twenty-four hours, is filtered, and an addition
is made thereto of 3 oz. of wood alcohol at
60 6 above proof, or naphtha. From 20 to
30 drops of oil of cassia are then added, and,
after remaining for about six hours longer, the
solution is ready for use. The glass to be
silvered with this solution must have a clean
and polished surface. It is to be placed in a
horizontal position and a wall of putty or other
suitable material formed around it, so that the
solution may cover the surface of the glass to

1 Spirits of hartshorn is a mixture of liq.
amnionic forte 1 part, water 2 parts.

THE WORKROOM

315

the depth of from | to J of an inch. After the
solution had been poured on the glass, from 6
to 12 drops of a mixture of 1 part, by measure,
of oil of cloves with 3 of Columbian spirits are
dropped into it at different places, or the diluted
oil of cloves may be mixed with the solution
before it is poured upon the glass. The more
oil of cloves used the more rapid will be the
deposition of the silver, but the operation should
occupy about two hours. About 18 grains of
nitrate of silver are used for each square foot of
glass.

28. Furniture Cream. Linseed oil, 80 parts;
spirits of camphor, 8 parts; vinegar, 16 parts;
butter of antimony, 4 parts; liquid ammonia, 1
part, and water, 1 part. This must be applied
sparingly by means of a piece of old flannel,
and well rubbed off with very soft rags.

29. To Renovate Morocco Leather. White of
five eggs; sperm oil, 6 oz.; acetic acid, 6 dr.;
glycerine, 6 dr.; oil of turpentine, 1 oz; Colum-
bian spirit, 5 oz.; water to 30 oz. Beat the eggs
thoroughly with an egg-beater. Mix the oils,
acid, and glycerin, and add gradually to the
eggs, using the beater constantly. Transfer to a
bottle and add the spirit diluted with its own
volume of water; finally, make up to measure.
Anilin dyes may be added according to color
required. About 200 grains will be sufficient for
the foregoing quantity of reviver.

30. Varnish for Restoring German Gilt Mold-
ings. Gamboge, 30 gr.; dragon's blood, 240 gr. ;
powder and add: Tumeric, 30 gr. ; shellac, 1\
oz.; sandarac, 2\ oz. Place the whole in a bottle
and add 2 oz. dry oil of turpentine. Shake
often and keep in a warm place for fourteen days.
Filter and add 4 oz. of clear mastic varnish.

31. Rubber Stamp Ink. Anilin red (violet"),
90 gr.; boiling distilled water, 1 oz.; glycerin,
30 gr.; treacle, 15 gr.

32. To Recover Fogged Plates. Immerse for
five minutes in chromic acid, 30 gr.; potass,
bromide, 60 gr. ; water, 10 oz. Wash dry;
reduces speed considerably. They can be made
suitable for use as transparencies by soaking
them in the following solution: Potassium
bromide, 1 oz. ; potassium iodide, 60 gr. ; warm
water, 2 oz. When dissolved add hydrochloric
acid, 2 oz.; potassium bichromate, 1 oz.; water
to 80 oz. The plates should be well washed
after immersion (jn the dark room, of course)
and dried. They will require eight times the
normal exposure, and should be developed with
hydroquinone.

33. To Dull Bright Surfaces of Machinery,
etc. Make thin cream of white lead and tur-
pentine, add lampblack to make a gray tint, and
then one-sixth the bulk of gold size. Paint over
and remove afterward with "cotton waste"
damped with benzene or turpentine.

Reducing Overdeveloped and Fogged
Negatives

Oftentimes a negative possesses excellent
qualities, but is too dense or too opaque for
printing purposes, through over-exposure or over-
development, or both; in either case the nega-
tive is termed a hard printer, owing to those

parts which should have been almost clear glass
being so clogged by a deposit of silver, thus
preventing the penetration of light. Again,
there are negatives that are so hopelessly
fogged by being light -struck, where a ray of
light has been allowed access to the plate
previous to exposure, so that a partial reduction
has taken place upon the sensitive surface,
which, upon development, has caused a com-
plete fogging of the negative. In a case of
this sort it must be discarded as useless; but
where the negative is only veiled through
faulty development, it can be made into one
of good quality by care being exercised in the
process of reduction. The method is simple,
easy to work and sure in its action.

There are several ways of reducing a negative
that is too dense; one plan is to let the negative
remain in a strong solution of common alum
for twelve hours; another is to let it remain in
the acid alum hypo fixing bath for the same
time. A glycin developed negative will quickly
reduce in such a bath, persulphate of ammonia
cannot be depended upon. Only a year ago I
completely spoiled four valuable negatives 6| x
8£, all interiors, by the use of this much vaunted
chemical; that was enough for me; once the per-
sulphate solution had penetrated the film its
reducing action would not stop; it continued
even in a forced stream of water until the nega-
tives were ruined.

This led me to try a modified way of the
employment of the reducer of Howard Farmer,
which I have ever since employed whenever
reduction is necessary. In this case I hold
to the proportions named; they have worked so
satisfactorily that is reason enough for adher-
ing to them.

In separate bottles make up the following:

Hyposulphite of soda
Water

3 oz.

18 oz.

In a second bottle of yellow or brown color
I mix

Ferricyanide of potash (red prus-

siate) 2 oz.

Water 20 oz.

When dissolved, soak the negative to be
reduced in the hypo solution. While that is
soaking I mix equal parts of the ferricyanide
solution and water. Then, take the negative
(without washing) and place it directly into the
second bath; simply tilt the tray a few times,
remove the negative, wash it and examine.
Generally, if slight reduction is all that is needed ,
this treatment is sufficient; if it is not, a second
dip in the hypo, or perhaps a third, and a wash
in the red prussiate liquid will accomplish what
is necessary. Then, after an hour's washing in
the negative washing box, the plate is dried,
and any after touching- up is done with a brush
and pencil.

I have found in practice that by using the
solutions weak, with separate dippings, that
the exact reduction can be obtained in a better
way than by mixing the strong solutions.

316

THE WORKROOM

An Improved Persulphate Reducer

Ammonium persulphate is undoubtedly one
of the most useful and popular reducers for neg-
ative work, in spite of the fact that in dealing
with a variety of negatives its behavior is some-
what erratic.

Those who are not familiar with this reducer
may like to note that its action takes place in
two stages. The first stage, during which no
perceptible change occurs, may last from a few
minutes to an indefinite period. During all this
time the negative must be watched, as the second
or active stage may be entered upon at any
moment, and when once it has started action
proceeds with great rapidity. In fact, so rapid
is the action that one is usually advised to take
the negative out of the solution a little before
the required degree of reduction is attained, in
order to allow for the continuing action. Further,
it is essential to employ a stop bath, in which
the negative must be kept in motion until the
action of the reducer has definitely ceased.

The chemistry of the process is not fully
understood. If we assume that the particles of
silver to be reduced are at first covered with a
substance only soluble with difficulty in the per-
sulphate solution, which substance protects
them from further action at the moment, we
can account for the period of inaction; and the
fact that a solution of persulphate of a strength
of five grains to the ounce will in some cases
act more efficiently than one containing twenty
grains to the ounce, makes it appear as though
the extra water in the dilute solution helped
by favoring the solution of this com-
pound.

With this hypothesis in view, the writer has
recently experimented on the effect of adding
certain solvents of silver salts, notably hypo, in
varying proportions to the persulphate solution.
Chemists tell us that hypo destroys persul-
phate, reducing it to the inert sulphate; and,
according to the equation, a given weight of
hypo is able to destroy about its own weight of
persulphate. But this reaction evidently does
not take place when the two substances are
merely mixed in solution; for the writer has used
as a powerful reducer with perfect success a
mixture containing ten grains of persulphate
with four times its weight of hypo, which quan-
tity sufficed to reduce a fairly dense half-plate,
and was not then exhausted.

As it is possible, therefore, to use these two
substances in combination, it is interesting to
see if there is any advantage in so doing.

After many experiments with old negatives,
which were cut in portions, and treated as
regards one portion with persulphate alone, and
as regards another portion with a mixture of
persulphate and hypo, it was decided that a
good mixture to employ consisted of fifteen
grains of persulphate and fifteen grains of hypo
to the ounce of water. This mixture took
rather longer altogether to effect the same
reduction than a solution containing ten grains
to the ounce of persulphate without any hypo;
but it by no means follows that a weaker mix-
ture of hypo and ammonium persulphate would
not answer the purpose equally well. However,

the experiments were continued with the
strength above mentioned.

The difference in the behavior of the solution
containing hypo, as compared with plain per-
sulphate, was most marked. With hypo present
there is apparently no period of inaction and
no sudden activity. The solution remains clear
all the time; the process is completely under
control; and the reduction may be stopped at
exactly the right moment without having to
make any allowance for continuing action, as
no stop bath is required.

It remains to be seen what difference, if any,
is caused by the presnce of hypo on the final
gradation of the negative. In order to test
this, a plate was given a series of exposures,
developed and fixed in the usual way, and then
cut in strips, each strip identical with another
as regards its range of tones. With such a set
of strips as these it is easy to demonstrate the
general behavior of any given reducer.

For example, with ferricyanide or with acidi-
fied permanganate, it is easy to see that the
lighter tones are destroyed before much differ-
ence is made in the printing quality of the
deepest. On the other hand, persulphate
reduces the deep tones without at the same time
eating out the lighter. Actually the presence of
hypo in the persulphate might be expected to
make the action approach more to that of per-
manganate or ferricyanide. Fortunately, how-
ever, that is not the case; for the appearance
of the strips reduced with hypo and persulphate
is practically identical, as regards the scale of
tones, with those reduced with persulphate
alone.

In making these tests as regards gradation,
bromide paper was also employed as a matter
of convenience, with the curious result that in
all cases the time of reduction was found to be
much less in the hypo mixture than in the plain
persulphate. This was contrary to the experi-
ence with plates. Another point noticed was that
a solution of five grains of persulphate to the
ounce acted, with bromide prints, much more
efficiently than one containing twenty grains
to the ounce. The prints had not been treated
with alum, or hardened in any way, and were
freshly made. Amidol -developed prints reduced
very slowly. On the other hand, a print devel-
oped with eikonogen reduced rapidly. This,
however, was on another make of paper. The
color of bromide prints reduced with persul-
phate and hypo is not altered, which is not the
case when persulphate alone is employed.

The negatives used in the preliminary trials
were some two or three years old, others were
more recent, and developed with pyro-soda and
amidol, and some with azol. The older nega-
tives were not given a prolonged soaking before
reduction, as is usually recommended; some
were used after just a momentary dip in water,
though others had a few hours' soaking. Need-
less to say, the persulphate was dissolved as
required; while the hypo solution, to which the
persulphate was added, was prepared by dilut-
ing the usual stock hypo solution of eight ounces
to the pint. ,

Taking fifteen grains of hypo to the ounce of
solution as the least quantity necessary to give

THE WORKROOM

317

the required control, it will be found useful to
increase this when dealing with exceptionally
dense negatives. The hypo may be increased
up to four times the amount of persulphate, the
effect being to shorten the total time of reduction.

For example, a negative was cut in two, and
placed dry, as to one portion, in persulphate
fifteen grains, hypo sixty grains, to the ounce
of water. The time required was eighteen min-
utes The other portion was placed in persul-
phate fifteen grains, hypo fifteen grains, to one
ounce of water. The time required was forty
minutes. A similar negative was cut, and after
soaking in water for an hour was placed, as to
one portion, in persulphate twenty grains, hypo
eighty grains, to one ounce of water. The time
required was five minutes. The other portion
of this was placed in persulphate twenty grains,
hypo twenty grains, to the ounce of water, and
took ten minutes.

It will thus be seen that by increasing the
hypo independently of the persulphate, the time
of reduction is halved. Also by increasing the
persulphate together with the hypo the time is
greatly reduced, if the negative is also soaked.
The amount of solution used for a quarter-
plate was one ounce, but this was so far from
being exhausted that it could be used a second
time, though naturally such a course is not to
be advised as a general rule. Further, the times
mentioned are only to be understood as apply-
ing to a given kind of negative and of a given
density. Other negatives might reduce in less
time, and others take longer.

A point which must not be overlooked in
working with the mixture is that the reduction
goes on without the appearance of milkiness in
the solution about the surface of the plate,
which is so characteristic of persulphate alone.
Unless this is remembered, a worker accustomed
to persulphate may think no action is taking
place unless he examines the plate by transmitted
light. A glass-bottomed dish, or, failing that, a
light porcelain dish, facilitates the operation of
judging density. — T. H. Greexall, in Photog-
raphy.

An Easily Made, Inexpensive Studio Shutter

The advantages of using some form of shutter
for portraiture so that the exposure may be
made without the knowledge of the sitter are
so obvious that it is probably quite unnecessary
to recapitulate them here. It may, however, be
profitable to consider what properties are essen-
tial in a shutter to enable the best results to be
attained under all ordinary circumstances.
First, it should be possible to. give such a short
exposure that it is unnecessary to warn the sitter
to keep still. Then it should be noiseless in
action; I consider any form of shutter that
"clicks" as it opens quite useless; even worse
than a cap, when taking dogs, cats, or nervous
children. Animals will jerk the head to see
where the click comes from, and the result is
— spoiled plates and bad temper.

The writer, some months ago, being in a posi-
tion of having to fit up a temporary studio, which
might, and might not, pay, gave considerable
thought to this matter of studio shutters. The

work done at the improvised studio would have
to be good, yet (dare it be admitted) money was
very scarce, and there was a decided reluctance
to get into debt for what might prove, in the
language of our threatrical brethren, a "frost."

Eventuallv the difficulty was overcome by
making a couple of shutters at home, and as the
total cost was only a few coppers, and the work
involved was such that anyone might under-
take who has the slightest idea of handling a
few tools, it is hoped that a description may be
welcomed by brother professionals who, for any
reason, do not feel justified in spending the
amount necessary for the purchase of one of
the excellent shutters now on the market.

Let it be said at once that the shutters are of
the "flap" variety, and the cabinet work (if
such it may be called) of the very roughest
description, the aim throughout being efficiency
rather than elegance.

Fig. 1. — Shutter-box and flap. G is one of two
hooks attaching shutter-box to camera front.
D D, screw-eyes which are slipped over bent
nails E and F, and attach flap loosely to box.

First, then, as to the dimensions. It is
obvious that these will vary according to the
size of the lens-tube to be used, for the shutter
is designed to work inside the camera, being
actuated by the simple method of pulling a string.
This string release has two advantages. It is not
affected by temperature, and so does not perish
like rubber, and when, after a few thousand
exposures it breaks, it can be renewed for a
fraction of a penny.

Now to work. The shutter is composed of
two parts, the box and the flap. The box is
simply four pieces of wood nailed together at the
corners, and is made from part of a chocolate
box. The thickness of wood used is quite imma-
terial so long as it is strong enough to hold the
small nails without splitting. ("One inch oval"
are the nails used in the shutters I am describ-
ing.) The top portion of the box (A, Fig. 1)
should be at least as deep as the lens will project
into the camera. So that in the event of a
portrait lens being used that racks in 2 inches,
A should be 2 inches deep, by as many inches
long as the lens is across, plus the thickness of
the sides and about an eighth over to allow for
clearance.

For instance, suppose the lens-tube is 2|
inches in diameter, the box should be 2f inches
square inside. It will be noticed that the

318

THE WORKROOM

lower part of the box (C, Fig. 1) is deeper than
the top; this is necessary, or the shutter will
tend to remain open, because the flap would
rarely return to the exact perpendicular.

Having made the box by sawing out the
four pieces of wood necessary, and nailing the
top and bottom to the sides, it should be neatly
covered with black velvet, or some other light-
absorbing material. (If the maker is a family
man he will have no difficulty in finding sufficient
scraps in the wife's ragbag.) Rather thin glue
is the most suitable medium for forming a per-
manent union between the wood and the cloth,
and some little care should be taken to get the
inner surface smooth, where the box touches the
flap.

The next thing will be to get out the flap;
this is simply a piece of thin mahogany or cedar;
part of a cigar box will do admirably, this is
what the writer has used. It should be about
| inch thick, and large enough to overlap
slightly all round the box. This also should be
covered both sides with black velvet, and then
comes the only part of the construction that
offers the slightest difficulty. This is the
hinging of the flap to the box.

Fig. 2. — Detail of loose hinge
in Fig 1.

-D,D and E,F

The first shutter made was fitted with a pair of
ordinary hinges taken from a small box that
had been in use for years, the result was that
when finished the shutter worked very sweetly.
For the second shutter, however, a pair of new
hinges were obtained from the local ironmonger,
and these, despite the use of oil and gentle per-
suasion, still remained too stiff to be of any use
for practical work.

A capital and perfect substitute for hinges was
therefore made as follows: A pair of small
screw eyes (J inch) were screwed into the flap
(D, Fig. 1) and a couple of ordinary inch-wire
nails were then bent and driven into the box
at E and F, the flap then slipped into its place
on E, while the nail F was slightly twisted out
of place. The flap being in position on E, F
was turned back into position, thus retaining
the flap permanently in its place. Fig. 2 will
make this clear, and show how the screw eyes
should butt up against the inner side of the
bent nails, E and F.

Now for the method of attaching to the
camera, and the means of actuating the flap.
The first shutter was attached by the well-

known "hook joint," the two hooks being
filed up from part of a brass spring from a
disused printing frame. One of these hooks is
clearly shown at G, Fig. 1. The shutter is
held in place by being slipped over two round-
headed screws let into the camera front inside.
In the case of the second shutter, it was
simply held in position in the camera, and a
couple of screws driven through the camera
front into the top and the bottom of the box.
The latter is the simpler, and, if the very slight
disfigurement offered by the two screw-heads is
not objected to, on the whole the better plan,
as there is no danger of the shutter jerking off
with constant use, which might conceivably
happen in the case of the hook-joint fastening.

Fig. 3. — The shutter in use — opened by drawing
string and closed by releasing the same.

The method of working the shutter is so simple
that a glance at Fig. 3 should make it quite
clear, but a few words of description may be
necessary. It will be noticed that three small
screw eyes, and a piece of string, are all that is
wanted to complete our apparatus; the first
eye is screwed to the flap near the lower edge;
the second is screwed to the inside of the camera
back at the top; the third is screwed to the
camera back at the right-hand top corner. A
hole is then made right through the back and
baseboard directly under this last eye, and the
string threaded as shown in Fig. 3. A long,
moderately fine bradawl is just the thing for
making this hole, and as regards the string, I
find that the thin red twine used by chemists
for tying up their smaller parcels is very suitable.
I have made over five hundred exposures with my
last shutter so fitted, and the twine as yet shows
no signs of wear.

At first sight it may seem rather a dangerous
proceeding to make a hole in the camera, par-
ticularly so close to the dark slide; in fact, the
writer was at first inclined to fear fog from the
light creeping through, but he has never had
the slightest trouble from this source, and a
moment's reflection will show that if the hole is
made at a slight angle (inclining toward the lens),
the worst that can happen is a dull pin-hole
picture of the studio floor projected on the top of

THE WORKROOM

319

the camera bellows, and what little of this is
reflected on to the plate is so weak as to have
absolutely no action. In the case of a very
light floor-covering being used, a small piece of
black velvet might be glued under the base-
board and a hole made with a bodkin or other
suitable tool for the passage of the string. This
would effectually trap any light, but as indicated
above, this is really quite a needless precaution.

With the shutter thus made, an exposure of
any duration from about one-eighth second
upward can be given, and the few examples of
child portraiture reproduced will show that
this is short enough for securing really natural
pictures of the one-time "photographers' ter-
rors." As regards longer exposures, there is
not the slightest difficulty; simply hold the string
fairly taut and count off the requisite seconds.

For exposures running into minutes, and for
focussing purposes, the following simple arrange-
ment is used, and is (in my opinion) far superior
to the usual tap and bulb, which often develops
a slight leak, slowly shutting up while focussing
is in progress.

An ordinary cork from a medium-sized bottle
(say, 10-ounce) is cut in half and screwed to the
camera stand in any convenient position: a
thin wedge-shaped slice is then cut from it some-
where near the middle, and the string simply
pulled into this wedge-slot — the shutter will
then remain open for any length of time. —
British Journal of Photography.

Red Bromides

For the production of what is known as the
"red-chalk" tone, the favorite formula has
hitherto been one requiring in its make-up a
large proportion of neutral potassium citrate, a
chemical not usually stocked and consequentlv
unhandy to obtain at any time, now, in com-
pany with most other potassium salts, only to
be had at a very enhanced price. The writer
has therefore been led to make trials in other
directions, and is now able to give particulars
of a method of producing red tones of a particu-
larly pleasing nature, with sparkling high lights,
the print being free from the dull and sunken
aspect hitherto characteristic of copper toning.

To those who are contemplating the produc-
tion of red-chalk pictures for the first time, it
may be well to say that in the case of most sub-
jects, landscapes particularly, the bromide print
must be exposed and developed to such an extent
as would render it useless if left in the black:
this, indeed, is one factor making for the superi-
ority of the red-chalk print over one in black-
and-white from the same negative.

Granted that the negative one is working
from is robust and well graded, the extra expo-
sure enables the entire scale of gradation to be
recorded on the print, which in the subsequent
process of toning loses its heaviness and becomes
a thing of charm.

The toning bath is made by dissolving

Copper sulphate 20 gr.

Potass, ferricyanide 10 gr.

In water 3 oz.

This produces a muddly greenish fluid, to
which is added sufficient of a saturated solution
of ammonium carbonate to dissolve the precipi-
tate and leave the solution a clear, slightly green-
ish blue. After this stage has beeen reached,
another half an ounce of the ammonium car-
bonate solution is added. The ammonia salt
being of a very volatile nature, the quantity
required will vary according to its condition:
if fresh, about 200 grains will be required, and
this is represented by two fluid ounces of the
saturated solution.

The bromide print, which has been fixed and
washed in the usual way, is flowed with enough
of the toning solution to cover it, and passes
through a series of colors of increasing warmth.
In the early stages some most agreeable purples
are produced, and, of course, the operation may
be arrested at any moment; for red tones, how-
ever, the print is allowed to remain until action
ceases, when ten minutes' washing follows. It
will now be seen that a slight pink tone pervades
the high lights, and this is removed by a brief
immersion in

Liquor ammonia (strong)
Water

30 drops
6 oz.

Used in these proportions this clearing bath will
not affect the density of the print; used stronger
it will, so that means of local or general reduction
are at hand if required. After another five
minutes' washing the print mav be laid out to
dry.

The toning solution may be used for two prints
in immediate succession; after that it should be
thrown away. The cost is trifling — about
three cents for the five ounces.— Amateur
Photographer.

Concerning Second-hand Apparatus

With most of the old photographers, amateur
as well as professional, there was a kind of
sentimental regard for any piece of apparatus
which have done them good service, and they
would no more have dreamed of sending one of
their old cameras or lenses to the auction-room
or second-hand dealer than the fox-hunter would
doom his favorite mount to the shafts of a "four-
wheeler." This feeling is now, however, in a
fair way to become extinct. Improvements and
modifications succeed each other so rapidly
that the progressive worker has hardly time to
become attached to a piece of apparatus before
it is more or less out of date and has to be super-
seded. A glance at our advertising columns
will show on what an extensive scale this chang-
ing of apparatus goes on, and a few words of
caution and advice may be acceptible to many
of our readers. In the first place, it should be
remembered that even the best of apparatus
cannot be used for any considerable amount of
work without requiring a thorough overhauling,
and a would-be purchaser should always make
a point of having every article examined by a
skilled workman before closing the bargain. As
an actual instance of the necessity for this pre-
caution, we recall a case in which a photog-
rapher paid a good price for a half-plate focal-
plane camera, which he required for press work.

320

THE WORKROOM

A close scrutiny did not reveal any defect, and
a trial plate or two gave satisfactory results;
he was quite satisfied — for a short time. At
the end of a fortnight some of the slides became
leaky, and on submitting them to a camera
maker it was found that the light-traps, which
were of metal, were so corroded that they were
practically crumbling to pieces. These had to
be renewed at considerable cost, and again all
seemed well. Not long after this the shutter
slowed down in an unaccountable manner, and
on returning it to the makers it was found neces-
sary to fit a new mainspring, the old one having
lost its resiliency, though, temporarily tightened
up for the purpose of sale, it appeared to be in
good order. Altogether these repairs cost over
ten dollars, to say nothing of the loss of time
and the inconvenience to the owner. The expert
overhauling would have transferred this loss
from the buyer to the seller, who probably
would have been quite willing to pay for repairs
which were proved to be necessary. In the case
of lenses by makers of repute, and for which a
fair price is asked, it is advisable that they be
submitted to their makers for a report on their
genuineness, and also their present condition.
Most makers will render this service for a very
small fee. If the purchaser relies upon his own
judgment, he should not forget to examine the
surfaces, to see if the polish is intact. If this is
in any way dulled, it will cause a general fog-
ging of the negative, which is more noticeable
in bright weather than in dull.

At the risk of being tedious, we must repeat
the caution against sending money to strangers
who advertise bargains in apparatus either in
our own or other columns. Without any inten-
tion to be dishonest, the seller is apt to describe
his goods in too glowing terms, and the camera
"in condition as new" may be found to be well
worn, though serviceable. But besides these,
there are actual swindlers who have no goods to
send, and the hardly less reprehensible ones
who have "just sold" the article advertised, and
send as near a substitute as possible. To recover
a remittance from these gentry is, in the words of
the proverb, "like getting butter out of a dog's
mouth." However, anyone who is defrauded
in this way has no claim for sympathy, as all
reputable journals with " apparatus-for-sale "
columns arrange to hold money on deposit until
the goods have been accepted as satisfactory.
In the case of photographers, the ordinary refer-
ences to their stock dealers may be exchanged,
and some such precaution should always be
taken. — British Journal of Photography.

Simple Background Painting

No matter how good a background may be,
a photographer, in working with it every day,
soon grows tired of it, and even when there are
a few to select from the time comes when some-
thing new must be introduced. To the country
photographers, whose sitters are few, the expense
of a complete renewal is often more than can
be faced. To such I would say, have a try at
painting some new effects on the top of those
you have completely done with. If the subject
selected does not require too much detail, there

is nothing to hinder anyone painting a number
of backgrounds all different, and so to keep con-
tinually altering and renewing the designs, with
the result that his work will look newer and of
greater variety, since with a number of small
grounds he can ring the changes so as to use a
different background, or even the same one used
in a different way, with almost every sitter.
No ground need be worked to death, but just
painted over agzin.

There are various methods of painting back-
grounds, but the simplest is the distemper
method, using either a commercial distemper or
a special preparation sold for the purpose by
the Vanguard people, or, lastly, home-made
whiting and black, the two mixed together to
make a middle tint. A large pail of good glue
size should be made up first, and, say, half a
pound of treacle mixed with it to make it more
plastic. This size and treacle mixture is the
medium used to make up the distemper. A
pound or so of fine whiting is taken and ground
as fine as possible, and size added until you have
a smooth-working mixture.

Three or four ounces of drop, lamp, or ivory
black is also ground and made into paint with
the addition of size (in another pot, of course).
A little red color should be added to the black
to make it a nice warm color, and also a few
grains to the white to take away the harshness.
Take a third pot and mix two parts white and
one part black from the pots already made up.
This gives you your middle tint. After you
have got so far, take a strip of cardboard and
paint some of each tint on it and let it stand until
dry. You will then see if the three tints are of
the strength you would like the background to
be. To modify them you add a little white to
the black and then a little of the black to the
middle tint. This brings them closer together
and gives less contrast.

Before starting to paint, the cloth should be
evenly hung against a plain level wall (outside
if it can be managed, as a bit of a mess will be
made). If you have a frame or stretcher, all
the better, but they can be painted hanging
quite well. The cloth being hung or stretched,
the first thing to do is give the whole surface a
coat of size. This puts the canvas in good con-
dition for working. This done, take a small
brush and some white, and sketch in the princi-
pal masses and proceed to lay in your color,
working from the top downward and merging
one tint into the other, leaving no hard lines.
The masses being all laid on, proceed at once to
put in the details. Nothing very strong nor
fine must be attempted at first. Broad, soft
working is what is required, and, remember, a
ground must be finished before it is allowed to
dry. It is a good plan to start with a small
head ground, as one can reach over the whole
of it at once. Take the lightest tint and put a
good large patch of white right in the center and
a little to one side. Then take the darkest tint
and lay a wash of it all round the edges, working
in to within six or eight inches of the white in
the center. Then take the middle tint and cover
the space between the dark and the light color.
A large brush should then be taken and the
cloud formation worked in, using only the color

THE WORKROOM

321

that is on the ground. This is simply a matter
of blending and softening the one tint into the
other with a circular motion of the brush, care
being taken to leave no hard brush marks. A
graduated ground can be done the same way.
Start with the lightest tint at the top, then the
middle tint, and lastly the darkest at the bot-
tom. This can be carried further up at the one
side if desired. In putting on the middle and
dark tints rough cloud formation should be aimed
at. Then the whole thing should be gone over
with a softener as before, and the tints softened
into each other. Painting any of those back-
grounds is so simple that a child could do it if
it had the strength to handle the brushes. The
whole secret of success is in keeping the entire
surface soft and in working condition until fin-
ished, allowing it to dry all at once. If not up
to expectations, give it another coat of size and
do the whole thing over again. — British Journal
of Photography.

Rescue Work among "Hopeless" Negatives

There are few photographers who have not a
little store of negatives from which it is impos-
sible to make a print by straightforward
methods. They, indeed, appear to be quite
worthless, yet there is always a lingering idea
that something may be made of them some
day. Other workers of sterner fiber only
cherish the memory of hopeless exposures which
they threw away at an early stage in their
history. Chief among such negatives are those
which suffer from errors of exposure, extreme
over- or under-timing having rendered them
incapable of giving even a passable print by
any known method.

Let us first take the case of an extremely
under-exposed negative which is so thin that it
cannot be intensified with any hope of success,
and yet is not fogged or stained. In such a
case a very fair copy may often be made by
bleaching the ghostly image with bichloride of
mercury, backing up with black velvet, and
copying in the same way that a collodion posi-
tive or Daguerreotype is treated. It must be
remembered that the glass side of the negative
is to be turned to the copying lens or a reversed
image will be produced. Such a thin negative
will sometimes yield a fair print if copied upon
"contrasty" gaslight paper in the camera, or
by the use of an enlarging lantern. I have found
it possible to obtain contrast in this way from
negatives which would not stand the shortest
exposure in contact printing. Of course, the
illumination, whether it be daylight or artificial,
must be very subdued in character. Such
prints should be developed with a strong solu-
tion, so that full strength can be obtained with-
out the risks of straining which is always present
when one is attempting to "drag out" an under-
exposed image in a weak or normal developer.

If a thin over-exposed negative has to be dealt
with, the best way to proceed is to intensify with
a freshly made uranium solution, a good for-
mula being: Uranium nitrate, 10 grains; potas-
sium ferricyanide, 10 grains; glacial acetic acid,
24 minims; water, 1 ounce. The negative,
which must be free from hypo, is immersed in

this solution until it has assumed a red color,
which is very non-actinic. The clear portions
will be stained a light yellow, but this may be
removed by washing in water acidified with a
little acetic acid — say, 1 dram to the pint. The
characteristic of the uranium intensifier is that
it tends rather to clear the shadows while giving
a maximum density to the lights. As this
density depends upon the color of the deposit,
a stronger print will be obtained by daylight
printing than by exposure to gaslight. If a
transparency has to be made, an ordinary plate
should be used, and if possible a blue screen
interposed somewhere in the path of the rays; a
piece of common blue glass will answer if placed
in contact with the negative.

A thick over-exposed and over-developed
negative in which the image is only visible by a
strong light is best treated by reducing with ferri-
cyanide and hypo, and subsequently inten-
sifying. I have succeeded in reproducing such
negatives by using an ordinary plate for the
transparency, and exposing it under the nega-
tive to good daylight. The transparency is
intensified, if necessary, and the new negative
made on a slow plate by contact.

A class of negatives which often calls for
rescue work consists of those which have been
intensified with mercury and have faded to a
sickly yellow color. These may be restored
to their full density by immersion in a bath of
sodium sulphantimoniate (Schlippes salt) 15
grs., water 1 oz. This must be freshly made,
and the crystals of sulphantimoniate washed
before they are dissolved.

Negatives which have been imperfectly
washed are often covered with a deposit of dry
hypo, which will ruin any sensitive paper it
comes into contact with. The best way to
deal with these is to interpose a thin sheet of
celluloid, as when printing from wet negatives.
It is unsafe to attempt to re-wash such nega-
tives, as the whole film is very likely to frill off
the plate and vanish down the waste-pipe.

The orange stain due to imperfect fixation is
difficult to remove. Sometimes it will give way
to a weak solution of potassium cyanide, but I
prefer to intensify with mercury and ammonia
or mercury and cyanide of silver, when the
yellow stain is turned into a gray one, which has
little printing value. Stains caused by absorp-
tion of silver from the printing paper are easily
removed by rubbing them with Globe metal
polish (paste) and immersing in a strong clean
hypo bath. If the stains are old, the negative
may have to remain in the hypo bath for an
hour or more, but I have never found a case in
which this remedy failed. Patches of uneven
density caused by alteration of temperature
during the final drying of negatives are very
difficult to deal with, no amount of soaking
seeming to have any effect upon them. I have
found that the best way to deal with plates
affected in this way is to coat the back with
Billdup or matt varnish, and to stump over the
thin places with fine black-lead powder.

Surface tarnish, which is usually due to expo-
sure of unvarnished negatives to gas fumes, is
easily removed by rubbing with Globe metal
polish, or, in mild cases, with methylated spirit.

322

THE WORKROOM

There are many negatives useless as a whole
which still contain the makings of a picture if
the best portions be enlarged, and for this
reason among many others I recommend every
photographer to keep an enlarging apparatus
ready for use. As a case in point I remember
taking a number of negatives of a well-known
clergyman. In one of these, a three-quarter
length, he moved his hands badly and the plate
was put aside. Some time after, in looking over
the "spoils," the expression struck me as a good
one and I enlarged the head to twelve by ten.
This was submitted, and resulted in orders
many times the value of the first one from the
"good" negatives.

The "sketch" style also lends itself to the
rescue of faulty negatives, for if the face be intact
it is easy to draw in the body. For those who
are not skilful in getting good proportion the
head may be printed to full strength and the
figure to just such a depth that it will serve as a
guide for the brush or pencil work. There is
yet another "fake" which is useful in desperate
cases, and that is to turn the photograph into
a pen-and-ink drawing. There are many ways
of doing this, but with the materials now in use
there is no better one than to make a light
print on platino-matt bromide and carefully
draw upon it with an ordinary pen and water-
proof drawing ink, only putting in the principal
features. Expose the drawing to the light and
air for two or three hours to harden the ink, and
then bleach in the ordinary iodine and cyanide
reducer, rinse well, and after drying put in
the finer details with the same pen and ink. If
too much detail be put in before bleaching the
drawing is likely to look heavy, as a light stroke
does not tell on a print as it does upon the plain
white paper.

It is, of course, obvious that much "rescue
work" can be done by the ordinary methods of
intensification and reduction, but in such cases
the negatives cannot be regarded as hopeless,
while methods for mending cracked and broken
negatives have only recently been described.
We must not forget, however, the old trick of
printing a cracked negative on a table suspended
from a roasting jack; or, failing a roasting jack,
a skein of worsted. When printing in bromide
the printing frame must be kept in movement
all the time with a rocking as well as a circular
motion. This effectually prevents the shadow
of the crack from printing and there is only the
fine line of the broken film to touch out. If the
edges of the crack are ragged they should be
touched out with opaque color, as it is not easy
to spot out black lines or patches. — British
Journal of Photography.

Tools and Their Users

There is an old adage which says that "a
bad reaper never has a good hook," a bit of
proverbial philosophy which has an application
to photography as well as many other fields
of work. At first sight it seems to be directed
only against the indifferent workman, but in
reality the proverb is double-edged, for while
it is a fact that no perfection of appliances will
make a bungler into an expert, yet imperfect

or unsuitable tools will handicap the most skilled
hand more or less. This is very noticeable in the
case of the studio. The clever operator will
manage to turn out creditable work under con-
ditions which would be disastrous to an indiffer-
ent one, and on the other hand an easily man-
aged light has made for many a man a reputa-
tion which he has not been able to maintain
after a removal to other premises. "Sweet are
the uses of adversity." The man who has had
to battle with a top-lighted studio expose to
sunlight during a great part of the day is hardly
likely to fail where the conditions are less trying.
It is, however, a great mistake for anyone to
continue working under adverse conditions when
there is a possibility of improving them, for the
exhibition of skill in such a case reminds us of
a violinist who can play a difficult solo on one
string, while he has four on which he could do
the same thing more perfectly always ready to
his hand.

It is even more important that the operator
should be en rapport with his apparatus than with
his light, for while the latter may affect the
finished result it has not the distracting effect of
a badly working camera. The ideal condition
is when the operator is absolutely unconscious
of the working of his apparatus; when he can
use it with the same absence of effort with which
he manipulates his knife and fork, or puts on his
hat and coat. Then he is able to concentrate
his attention on the sitter, and to do his best
from the artistic point of view. How many
good pictures have been spoiled in the making
by leaky shutter fittings, slides which fit too
tightly or too easily, racks which jamb or jump,
and stands which refuse to go up or down at the
critical moment? In sports and athletics this
factor is recognized to the full: the oarsman is
not allowed to worry about his boat, it is put
into perfect trim for him by his trainer or other
friends; the boxer has to take no thought as to
his training quarters or the hall where the
contest will take place, his only care is to be
fit when the time comes. The photographer
needs to be as fit as any man if he is to do his best
work, yet he has usually many burdens, and he
has the whole financial responsibilities of his
business. He has to deal with the whims and
often the impertinences of his clients, therefore
it is doubly necessary that he should not be
handicapped by his tools. Every operator
should keep his apparatus "tuned up" to the
highest point of efficiency so that he may feel
the same confidence in it that the aviator feels
in his aeroplane or the "sniper" in his rifle. It
is not a costly business to do this; a few hours'
work will remedy most ordinary defects, and
much of it may be done by the photographer
himself. The country photographer may have
some difficulty in getting repairs and adjustments
made, but it is better to put up with a con-
siderable inconvenience for a week rather than
to have a chronic state of worry over make-
shifts.

The quest for efficiency should not end in
the studio; the dark-room and the workrooms
have also a claim for consideration. In many
dark-rooms the expenditure of a single sovereign
would make an enormous difference in the

THE WORKROOM

323

efficiency of the equipment, while a five-pound
note would work wonders.

As it is with apparatus so it is with plates
and materials. No idea of small economies
should be permitted to interfere with efficiency.
The plate bought on the best terms may be
the dearest in the end, and the "substitute"
used for development may have weaker reducing
power than the genuine article.

One great point in securing efficient work is
to let nothing lie about in an unusable condition.
Printing frames with doubtful springs, a dry-
mounting press that gives uneven pressure, and
tissue that only sticks sometimes are easily
remedied or replaced. We need not tell any
business man that it is his duty to look for defects
and deterioration in his plant and not to leave it
to his staff to formulate their requirements; often
employees fear a rebuff if they make suggestions
which involve the smallest outlay, and a very
injurious atmosphere of laissezfaire is engendered.

What we ask all photographers to do is to go
round with a card and pencil and make a note of
all work which needs attention, and then without
delay to give it that attention. One essential
condition of success in artistic work of any kind
is that there should be no avoidable obstacle
between the idea and its realization, granted, of
course, that the idea and the capacity to carry
it out exist. It is perhaps as well that success
after all depends upon the man and not upon
his appliances, else many a young artist would
be crushed by impecuniosity at the outset of his
career. W7e can recall the case of one successful
exhibitor whose one and only camera was a 5 by
4 Kodak of an old type, but he steadfastly
declined to get a larger or better instrument,
because, as he said, he knew exactly what he
could do with the old one. Other men have
different views of the question, and to many the
possession of the most perfect equipment is of
itself an inspiration. The very worst prepara-
tion for work is a feeling that one has got to be
careful lest some fault in the apparatus is going
to cause failure, yet this feeling exists in far
too many cases. — British Journal of Photography.

To Remove Wrinkles from Backgrounds

Wrixkles from any cause whatever (pro-
vided the paint is not cracked off) may be
removed and the background made as smooth
as though it had been painted on your frame
or stretcher.

New backgrounds are often wrinkled by the
ignorant while they are being mounted on the
frame, by the fingers touching the back or the
front of the background when it is being unrolled.
Avoid touching the ground and never squeeze
or crush it with your fingers, let it rest gently
on the open palms of your hands; while your
assistant tacks the top to the frame, first one
end, then the other end, and then working from
the center to both ends of the top at the same
time. This should be done with the frame
standing upright. Never lay the frame on the
floor to stretch a background as you will prob-
ably ruin it.

After the top is tacked begin on the sides
at the bottom and work upward. Do not drive

any of the tacks all the way in, you may have
to remove them to smooth out any sagging or
wrinkles. Then if the background has no
extension tack the bottom. All tacks should
be about six inches apart.

Wherever any sagging or wrinkles appear,
remove the tacks one at a time, stretch the
ground gently and replace the tack, working
toward the nearest corner. Do this until your
ground is as smooth as if painted on your frame.
If, however, this is not accomplished by the
above, place the background on two or three
chairs face down and place a pail of boiling
water underneath (keep the water steaming)
for an hour, then stand the ground upright and
stretch out any sags or wrinkles as before, as
the paint will have become softened enough to
allow you to do a good job this time. Then
drive the tacks all home.

If your ground has an extension, lay a strip
of board along the bottom edge and nail through
it to the frame to hold the ground until it is
thoroughly dry, which will take twenty-four
hours, when the strip can be removed. The
nail holes will not show in the photo. Have the
nails six inches apart — as you did the tacks or
the ground will shrink unevenly.

If you use a background carrier for your
grounds, you will have to mount them on frames
first and proceed as above. Allow them to dry
thoroughly, when they may be removed and
remounted on the carrier rollers. The wrinkles
will again shortly re-appear. Can't fix them.

To remove small indentation, sspray the
background gently with an atomizer containing
water which has been boiled and allowed to
cool. In fact, the atomizer may be substituted
for the steam process if you care to take the time
necessary to accomplish the result.

Before trying this process on an old ground
be sure to dust it thoroughly or it will stain.
Brush it vigorously with a soft feather duster
until every particle of dust is removed.

To save a background that has been water-
stained, if you discover it before it has begun
to dry, lay the ground down on the floor and
flood it with clean water. Do it quickly and
all over, but do not attempt to use a brush or
cloth to cover parts you failed to get wet — pour
water on them. Then stand it up and allow
it to dry. All sides must be tacked as in method
for removing wrinkles. This will often save
a ground that otherwise would be hopelessly
stained. Remember though that nothing will
remedy the stains once they are dry at their
edges. Paint will not even cover them. I have,
in experiment, removed all the paint and re-
painted stains twenty times by actual count,
and the stain came up as strong through the
last coat of paint as it was before I touched the
ground.

The Best Type of Negative

The old question of the best type of negative
for bromide printing has recently popped up
once more in our answers column, and the
trouble of the querist seems also to be a very
common one, namely, that the negatives he
gets, though they yield good results on gaslight

324

THE WORKROOM

paper, will not serve for bromide, and become
too foggy if he tries to develop them more. It
is a somewhat unfortunate fact that thin foggy
negatives can be printed on gaslight paper, for it
has rather encouraged the production of such
negatives. It should, however, be better under-
stood that foggy negatives are not the best for
any kind of printing paper, and that even gas-
light paper will yield better results with clean
negatives than with foggy ones. The too preva-
lent fog is caused, generally, either by using
very fast plates that fog readily if not treated
with special care, or by neglecting the use of
bromide in the developer, without which most
plates will fog more or less easily with such
developers as the popular metol-hydroquinone.
The fog should not be there in any case, and
the only special quality in the negative that
is really required for the production of good
gaslight prints is moderate thinness. A nega-
tive exactly suited to gaslight paper should also
be eminently well suited to bromide enlarging
in a lantern with a gas illuminant, but such a
negative will in most cases be somewhat too
thin for bromide contact printing, unless a slow
paper is used.

Contact printing on bromide requires a nega-
tive of much the same quality as all the other
contact processes, with the exception of gaslight,
though it must not be forgotten that the intro-
duction of "soft" and "hard" or "vigorous"
qualities of gaslight paper has to a considerable
extent rendered this paper useful with very
varied types of negatives. A negative just
suited to enlarging should given an excellent print
on hard paper, while one suited to the making of
contact bromides will generally give good prints
on soft gaslight paper.

For enlarging on bromide paper it is generally
advisable to prepare negatives that if not
specially thin are at any rate not too remarkable
for pluck and vigor. A good platinum printing
negative, though it will also yield a good con-
tact bromide print, will almost certainly be too
strong to enlarge well in a lantern unless a very
powerful light is available. With an arc it will
give an excellent enlargement, but with incan-
descent there will be a difficulty that will not be
satisfactorily overcome by extra long exposure.
On the other hand, it must be admitted that we
occasionally come across negatives of a quality
that enable us to use them equally well for any
printing or enlarging process. Examination will
generally show that in such negatives, while there
is no lack of vigor and contrast, yet the heavier
densities, that is the lights, are broken up at
very small portions. The enlarging trouble
arises chiefly when the lights are grouped in
masses of heavy deposit and not in separated
small details. Therefore, while a universally
useful negative is a very desirable and con-
venient thing, it is one that we cannot ensure
getting unless the subject is just suitable.

Fortunately the average worker does not
want to use a great variety of printing processes
for one and the same negative, hence, on the
whole, it pays him best to prepare negatives
suited to the particular processes he means to
use. This generally means that some printing
methods require the negative to be developed

for a little longer or shorter time than others.
In no case does it mean that a foggy negative is
a desirable one. Fog is always a thing to be
most carefully avoided, and it is quite easy to
avoid if very moderate care is given to the
matters of exposure and development. — British
Journal of Photography.

Direct Positives on Bromide Paper

For rapidly copying documents, articles in
journals, line drawing, etc., a direct photo-
graph on bromide paper is very satisfactory
if the photograph is made through a prism to
avoid reversal. A well-known example is the
use of the Photostat machine, in which the
operations of development and fixing are per-
formed automatically after exposure in the
camera, the paper being cut off from a roll, so
that a great number of photographs can be
taken in succession. This method, of course,
produces a negative, and for much work a
negative has no disadvantages. On most
occasions, however, a direct positive is desirable,
and such positives can be obtained on the
bromide papers used for copying work, by two
different processes.

The first method is the well-known one
whereby the developed, but unfixed, print, is
bleached out in an acid permanganate bath, and
the residual image of silver bromide exposed to
light. This, on development, gives a positive
black-and-white image. Good results are
obtained by observing the following instruc-
tions:

The exposure must be sufficient so that
development is complete in about two minutes,
using the developer recommended for the
particular paper used. After washing the
print for five minutes it must be bleached by
bathing for one minute in the following bleach
bath:

Potassium permanganate
Sulphuric acid (strong) .
Water

30 gr.

150 min.

32 oz.

Rinse and immerse in a dilute solution of
sodium bisulphite to remove the brown stain,
working in full daylight, and rinse and develop
in the developer first used; then fix and wash
in the usual way.

Any slight stain that remains in the print
can be removed by bathing in a weak solution
of potassium cyanide, being careful to take
the print out the moment the stain disappears,
or the silver image itself may be attacked.

A second method, worked out in the research
laboratory of the Eastman Kodak Company,
calls for developing in the usual manner, con-
verting the unexposed silver bromide into silver
sulphide and then removing the residual silver
image, leaving a positive image of silver sul-
phide.

The exposure may be made in an ordinary
plate holder, keeping the paper flat with a sheet
of clear glass, and must be adjusted so that
development is complete in two to three minutes
in the following developer at 70 degrees F.

THE WORKROOM

325

Elon

8gr

Hydroquinone

150 gr

Sodium sulphite .

. 3 oz. 100 gr

Sodium carbonate

. 3 oz. 100 gr

Potass, bromide .

50 gr

Water

32 oz

This developer will keep well.

It is evident, in view of the fact that this
developed silver image is subsequently removed,
leaving a clear white background, that all the
exposed silver bromide must be reduced to
silver during development, or the high-lights
of the final positive will be stained or fogged.
On the other hand, if the print is over-exposed
in the first place, spreading may take place and
fine lines will be lost.

After development a rinse only is needed
before the print is put into the darkening bath,
where it remains for two minutes at 70° F.,
when the unexposed silver bromide is converted
into sulphide. The bath is made up of:

Sodium sulphide (crystal) 1 oz. 330 gr.
Water 32 oz.

It will be safer to bring this solution to the
boiling-point and allow to cool before using, in
order to precipitate the iron present. The final
color of the print, as well as the degree of con-
trast, will depend on the strength of this bath,
which may be used almost indefinitely. A
weaker solution will give yellowish-green tones,
but if the above strength of the solution is
maintained, almost black lines are obtained.
Rubber fingertips should be worn, as the solu-
tion may affect the finger nails.

The print, after a few seconds' washing, should
be placed in the following bleach bath until the
high-lights are perfectly clear, which will occur
in about three or four minutes:

Potassium ferricyanide .
Ammonium sulphocyanide
Water to

11 oz.
11 oz.

32 oz.

The temperature of the bleaching bath is
important. It may run from 65 to 75° F., but
it should not go beyond this, or the silver image
may be attacked and the bath is liable to decom-
pose. The bath ripens with age, and works best
when it has turned a greenish color. Ammo-
nium sulphocyanide may be replaced by the
potassium salt without changing the action.

In view of the fact that ammonium sulpho-
cyanide dissolves silver bromide, the print is
automatically fixed during bleaching. After
bleaching, the print should be well washed for
five or ten minutes and dried as usual.

The finished print will have a slightly yellow-
ish cast in the high-lights, which can only be
removed by continued use of the ferricyanide
bath, which is not desirable. Local yellow
stains are due to the presence of silver bromide
along with the silver image previous to sulphid-
ing. It is important, therefore, to prevent this
by correct exposure and full development. At
all stages of the process the print must be

agitated to prevent stains caused by uneven
action of the baths.

In actual practice the process takes very
much less time than is taken to describe it.
Not more than twenty minutes are needed to
carry it through, including the developing,
sulphiding, bleaching and washing. — British
Journal of Photography.

Preparing Negatives for Printing

It may happen that after a negative has been
made (at times miles have been traveled to
secure a particular scene or view), that through
some defect it is found that the negative must
be "doctored" or "dodged," as it is sometimes
called, so that a good print may be made from
it. One cause is through the plate being unevenly
coated, so that the negative is much thinner at
one end than it is at the other, this has caused
an unequal density, which only becomes visible
upon development. Another cause is due to the
developer having flowed unevenly over the plate,
or that the plate has been unequally covered
with the developer by some slight mishap in the
dark-room, which may have brought about
patches showing the unequal development, or
it may be that the negative needs only a little
intensification at one end, where the usual
method of intensifying would bring about more
density at the thick end while it was needed
only at the thin end. Where any of the above
defects occur they can be remedied in a very
simple way. Clean the back of the negative
well from dried water marks, or emulsion spots,
and coat this cleaned part with a varnish known
as matt varnish, which can be purchased ready-
made, or it can be made easily from the formula
given here. If this coating of a plate has never
been tried before, practice upon one or two
clean plates, 4x5 will do; draining the excess
off at one corner into the bottle again. Wipe
the excess from the lower edge of the plate, then
fan the plate dry with a sheet of cardboard.
When the varnish has become set, it will possess
all the appearance of finely ground glass. The
plate should be warmed slightly to bring about
a fine surface, it can then be worked upon in
the following manner: Take an ordinary leather
or paper stump the same as those used by
crayon artists, rub an ordinary black-lead pencil
upon a strip of ground glass, or apply a morsel
of fine graphite, rub the tip of the stump upon
this, then proceed to work upon the matt var-
nished face of the negative over the part or
parts that are less dense than the rest of the
negative. This is easily accomplished by plac-
ing the negative against a window, or better still
in the frame of a retouching desk, so that the
progress of the work may be seen. It will soon
be observed that the black-lead applied in this
manner causes an evening up of the defective
part or parts of the negative, and being done
upon the back of the negative instead of the
front, the thickness of the glass aids in produc-
ing necessary effect without any decided edge
showing where the correction has been made.
Whenever it happens that the negative is a little
thin, and the sky becomes printed so deep that

326

THE WORKROOM

it mars the other good qualities of the negative,
the ground glass varnish, as it is frequently
called, serves an excellent purpose, by enabling
anyone to make up a clouded sky; with a little
care the clouds can be worked upon the negative
to suit the operator, or, better still, to represent
natural clouds to suit the scene or view. Again,
in this instance it will be found that the thick-
ness of the glass aids in giving just that softness
and cloud effect produced by nature.

If the operator wishes to make his own var-
nish instead of purchasing it, a varnish that is
equal in quality to any that is made commer-
cially, the formula given will meet every require-
ment. A clean ten-ounce bottle, well dried,
should be used in this place.

Sulphuric ether 4 oz.

Benzole 2\ oz.

Gum sandarac 180 gr.

Gum mastic 40 gr.

The bottle and its contents must be shaken
occasionally until the gums are dissolved; when
dissolved the varnish must be filtered to rid it
of small chips and possibly insects. This varnish
will give a very fine grain upon the negative,
a coarser grain can be made by the further
addition of benzole. The right quantity to cover
the plate will soon be acquired by practice.
Should some of it flow over the face of the
negative, this can be easily removed by moist-
ening a pellet of absorbent cotton in a mixture
of benzole and ether, or benzole alone.

The application of matt varnish to a portrait
negative will oftentimes give several advantages.
In the first place, it causes perfect diffusion of
light, thus producing beautiful prints no matter
whether the paper used be print-out or a devel-
oping paper. This diffusion of light brings
about a delicacy not obtainable when the prints
are made from the bare negative. The shaded
side of a face prints too dark, all that is neces-
sary is to apply a faint coating of graphite over
that part with the stump.

In the case of groups taken on very bright
days, especially out-of-doors, the shaded sides
of the faces are decidedly improved by this
simple method of treatment.

In fact, as far as local intensification is con-
cerned, this is one of the easiest, most simple
and effective ways of obtaining good results,
without in the least degree injuring the nega-
tive.

This plan is far better than dabbing color
upon the back of the negative to lighten up the
shadows. There need be no fear of obtaining a
sharp, decided line showing the "doctoring"
even if prints are made in direct sunlight, as
would be the case if a color worked-up negative
was used. Working up a negative as described
is better than working upon tissue paper stuck
upon the printing frame. No amount of shifting
the position of the negative will cause either a
false light or shade, as would be the case with a
fixed-up "dodging" upon tissue paper.

Simplicity, ease of working, and highly satis-
factory results can always be secured by the
above plan of "doctoring" up the negative.

Copies of any patent can be obtained from the
Commissioner of Patents, Washington, D. C.
Price, five cents each.

Camera. W. S. Goldwire & J. F. Patton.

1224531.
Camera Attachment. H. C. Wray. 1224588.
Camera Device. C. A. Hoyt. 1224300.
Printing Process. P. D. Brewster. 1224442.
M. P. Apparatus. R. H. Pietzsch. 1224500.
M. P. Machine. W. A. King. 1224309.
Projection Apparatus. F. A. Loftus. 1224392.
Projection Apparatus. W. L. Patterson.

1224663.
Camera Attachment. W. P. Robinett & J. A„

Gulladge. 1225495.
Camera Attachment. T. Kruger. 1225652.
Camera Attachment. A. Kiss. 1225039.
Film Lubricator. E. R. Pearson & C. E. Jones.

1225270.
Flashlight Apparatus. D. C. McCandless.

1225261.
Printing Machine. J. H. Fulmer & R. W.

Runser. 1225729.
Coating Material for Paper. G. W. Leighton

& C. S. Babcock. 1225146.
Color Photography. H. Hess. 1225246.
Process for Treating Photographic Media.

S. H. Weinhandler & J. S. Simsohn. 1224984.
M. P. Apparatus. L. Aikin & S. Adelman.

1225392.
M. P. Device. M. Segel. 1225184.
M. P. Machine. C. F. Jenkins. 1225636.
M. P. Device. A. D. Covert. 1225222.
M. P. Apparatus. A. S. Howell. 1225335.
Camera Attachment. G. W. Bretz. 1225757.
Camera Device. A. A. Ruttan & C. E. Hutch-

ings. 1225861.
Developing Apparatus. J.S.Greene. 1225803.
Film Cartridge. H. L. Gray. 1225951.
Film Cartridge. B. H. Meyering. 1225988.
Photographic Apparatus. J. I. Crabtree.

1225929.
Color M. P. Apparatus. M. Vandal. 1226282.
M. P. Machine. J. Grant. 1225801.
Making M. P. Film. R. V. Stambraugh.

1226135.
Printing Frame. E. H. Hollister. 1225957.
X-ray Tube. W. Robinson. 1226383.
Camera. C. H. Eckerson. 1226955.
Camera Device. R. D. Herschel. 1226660.
Camera Device. C. H. Mansfield. 1226681.
Camera Device. R. Kroedel. 1227276.
Film Reel Shaft. C. Uebelmesser. 1227094.
Film-tensioning Device. S. M. Coffman.

1227039.
Plate Holder. A. A. Ruttan & C. E. Hutchings.

1227203.
Drying Apparatus. V. C. Teneau. 1227092.
Screen. A. F. Wolber. 1226838.
M. P. Device. F. W. Hochstetter. 1226663.

The

PHOTOGRAPH L£
JOURNAM> m%.m

o/America M*»m m*

NEW SERIES WILSON'S PHOTOGRAPHIC MAGAZINE, FOUNDED 1864

CAMERA BUILDING .NEW YORK
$1.50 A YEAR - AUGUST, 1917 - 15 CT5. A COPY

HAS THE QUALITY CIRCULATION OF THE PROFESSION

In 1909 it was stated of

Cyko Paper

"Each grade of Cyko has more latitude,
plasticity, chromatic rendition and proper
scale of gradation than any other paper.
Its scope is unlimited"

and yet its scope has been enlarged
every year since, so thcit itl 1 9 1 7 it

CYKO is the single and universal expression
of photography today

Ansco Company

Binghamton, N. Y.

(c)THE STRAUSS-PEYTON STUDIOS

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PHOTOGRAPHIC
• JOURNAL-
'S^ AMERICA -

VOLUME LIV

AUGUST, 1917

NUMBER 8

PUTTING YOUR

BUSINESS UNDER YOUR
THUMB

A SIMPLE SYSTEM FOR GETTING THE FACTS

By J. CLYDE WILSON

TOO much system is like too much
mustard, it defeats its very purpr
Xor can any system be said to l
perfect. Every business has its own
peculiarities, and every merchant or
businessman engaged in that business
encounters conditions peculiar to his
particular establishment, which makes
the hidebound application of even the
best planned system impossible. With
the photographer a complex series of
records is not necessary. His is, for
the most part, a cash business and, as
a rule, a comparatively small business,
employing a very few people or perhaps
none at all. There are studios here
and there, of course, which are excep-
tions to this rule, but they are few.
The photographer usually has no elab-
orate pay-roll to maintain, with its
time-sheets and piece-work records, no

heavy ledgers, fifteen-pound files, or
ponderous stock sheets. His main
interest, so far as records are concerned,
is in keeping track of his receipts and
expenditures and making sure there is
always a balance large enough to yield
a satisfactory profit.

On the other hand, there are other
things which the photographer ought
to know about his business. It is a
notorious fact that professional photog-
raphers, on the whole, are none too
prosperous. This ought not to be so.
It used to be the case with the printers.
A highly prosperous printer, making
money and living in affluence, was a
rarity a few decades ago. They all
seemed to get along somehow, but they
didn't seem to get very far, in spite of
the great volume of business which was
distributed between them. Then, one

(327)

328

PUTTING YOUR BUSINESS UNDER YOUR THUMB

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day, somebody discovered that printers
were not making as much profit as they
thought they were. Their work was
costing them more than they realized,
and they were not turning a decent
margin on their investment. They
were not basing their prices upon costs
but each was charging "what the other
fellow charged," presuming that what
was good enough for the goose ought
to be good enough for the gander. What
happened? Everybody knows. Some
of the brighter ones brought in cost
accountants to find out just what print-
ing cost. From that very day the great
printing establishments one now sees
on every hand in the big cities sprang
up — monuments to careful figuring and
exact knowledge o£ printing costs.
Advertising and sales specialists have
carried the investigation still further,
discovering the exact status of the mar-
kets, the periods of depression and of
sales heights, and have taken pains to
stimulate business in dull seasons to
keep the costs throughout the year
normal and as a consequence the profits.
The photographer needs to know
more about his business than he usually
does. It is not enough that there is a
favorable balance shown between the
debit and expense column. Expenses
will creep in, which require an expen-

diture of cold dollars, which are not at
all apparent on such a record. Depre-
ciation is one of them; waste is another
— a tremendous item in photography.
The writer was once employed in a studio
of the better class, doing work of the
very highest character, where approx-
imately a third of each day's printing
was thrown out by "the boss." For-
tunately he was one of those photog-
raphers who realized the value of
maintaining a high standard of work-
manship, but he also knew that waste
is a part of the costs and he charged
for his pictures accordingly.

The value of any system for getting
at the details of a business is in direct
proportion to its simplicity. At one
time the writer was shown the records
of a small concern which had such an
exact system for handling its orders
that one could find at any time exactly
when a job had come in, where it was
at the moment of investigation, and
when it would be done. If there was
any failure to keep on schedule, the
person at fault was automatically dis-
covered and could be brought to task.
It was splendid. Its only fault was that
it cost so much in clerk-hire to main-
tain it that nothing was saved by it and
it was an extravagance. It is such
oversystematization which brings so-

PUTTING YOUR BUSINESS UNDER YOUR THUMB

329

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called efficiency efforts into disrepute.
Too much red tape is worse than
chaos.

The system herewith outlined, though
it lays claim to no perfection, should
be suggestive to the more enterprising
photographer. Truly, it does not give
all the information concerning their
business some photographers will want,
but it may point the better way at least.
As was said at the outset, each individual

business has its own peculiar conditions,
and to meet these modifications will
suggest themselves. On the other hand,
it offers the advantage of being simple
— its maintenance in good shape not
requiring more than five minutes of
one's time a day — and it does give the
photographer a great deal of informa-
tion he does not usually possess. For
instance, do you happen to know exactly
how much new business vou have taken

330

PUTTING YOUR BUSINESS UNDER YOUR THUMB

in up to date this month? One can
find that out of course from any set of
books by doing a little figuring, but it
is bothersome and easier left undone.
Do you know how much, to the dollar,
you have taken in and spent this month?
Do you know whether or not you have
had a falling-off in business this week as
compared with the corresponding week
last year, or last month, or even with
last week? Do you know whether, for
amount of business you did last month,
you spent more for paper than you did
for the same amount of business at
some other time? If so, was it waste,
or what was it? If you advertised this
month, do you know if business was
increased by your expenditure? These
are things that are worth knowing, and
imperfect though this system may be it
will at least give you all of this infor-
mation. But I assure you the more
elaborate you make it the quicker you
will discard it. The tendency is to
overdo these things when we go in
quest of the ideal. For our own part,
we find plain ruled cards answer every
purpose and permit some flexibility,
as experiment dictates the best spacing
to use. We write our orders as shown
in Fig. 1. This gives us all the informa-
tion we desire. We have a complete
record of deliveries and payments and
detailed information concerning each

negative, with space for more if desir-
able. The little wooden file in which
the cards are placed takes up very little
space in the desk, much less than would
a register; it contains only live orders
and is decidedly convenient. When
an order is completed — all the deliveries
having been made as well as the pay-
ments— the card is temporarily removed
to the back of the file, from which each
night the completed cards are taken,
and after the debits have been entered
in a journal removed to a completed
file. Here arranged alphabetically they
remain permanently, each file holding
the complete year's orders.

In Fig. 2, we have a sort of daily
recapitulation. Each day's receipts,
expenditures, and new orders are entered
upon this sheet, the same being added
to the preceeding day's totals to date,
so that we always know the total
business we have done at any time dur-
ing the month, as well as the actual
receipts and expenditures — good, worth-
while information. Ruled paper can
be purchased upon which to keep this
record, but as only a single sheet is
used a month it isn't much bother to
rule it yourself. They may be conven-
iently kept in a loose-leaf ring-book so
that they may be shifted about at will
for convenience. The notations under
the "Remarks" heading are interesting

PUTTING YOUR BUSINESS UNDER YOUR THUMB

331

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as throwing light upon some of the
entries: The weather, a graduation, and
other matters have an effect upon the
photographer's business that should be
noted.

In Fig. 3 and Fig. 4 our method of
entering receipts and expenditures is
shown. By this method of entry we are
able to observe very easily what side
of our business is largest in volume, on
the one hand, and to note where most
of our money is going — when it isn't

going into our pockets — on the other;
We know — by comparing the expense
columns from month to month and our
gross debits — whether there has been
waste of plates or paper or chemicals.
Of course, as we enter purchases at the
time the money is paid out, large pur-
chases, as of plates, may not occur each
month, but the very next time a similar
entry is made we are able to note how
long our plates have lasted and to
strike a monthly average.

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332

PHOTOGRAPHY'S CALL TO THE COLORS

The commercial photographer who
does a lot of work for manufacturers,
rendering a monthly statement, will be
interested in the card shown in Fig. 5,
a summary of the various items recorded
on his order cards. This card is clipped
to the order cards as they accumulate
during the month, the amount of each
order and date (and order number if
necessary) being entered upon it as the
order card is made out. At the end of
the month the manufacturer's state-
ment is ready and only requires copying
upon the required form. When the
check in payment is received, the
statement card with the orders clipped
to it is removed to the completed order-
file. If unpaid it stays in the live file
until payment is made. If the business
is large it may be removed to a separate

file of delinquents, in which it will
remain until collected, or given up as
hopeless and weeded out. By this
system you always know who don't
pay and know it quickly.

When all is said and done there are
many advantages to a system of this
sort. By keeping informed upon his
daily growth, his waste, his seasonal
volume of business, and so forth, the
photographer is soon able to put his
finger upon defects in his methods and
to weed them out. Success is the reward
of constant vigilance. To the outsider
it sometimes looks like luck, but the
man behind the works knows that results
only follow careful and sensible plan-
ning, and the best plans are built upon
definite knowledge of the ills which
beset the business.

PHOTOGRAPHY'S CALL TO THE COLORS

THE call has gone forth. From
every wall posters are calling upon
our young men to enlist in the
cause of liberty. Great full-page ads.
in the papers invite us to spend our
dollars for the liberty loan that the cause
of free government may not be allowed
to perish from the earth. These are
times of stress, as war times always are.
Our feelings have been aroused. A
great cause which can unite a whole
people of 100,000,000 souls appeals to
something deep in our natures. We do
not sacrifice life, friends, loved ones,
and opportunity, for causes that are not
made of this stuff. We do not throw
our lives away upon trivialities, and
nothing short of a great spiritual up-
heaval, a great engrossing ideal, can
lead us into paths that are strewn with
gore and blood. It is a day of sacrifice,
when everyone wants to do his part.
The young and strong will enlist to
expend their might and main in the
actual conflict. But we who are left
behind what shall we do? And what
of photographers, whose work has not
always seemed to be any too well val-
ued in peace times? Are we now a mere
superfluity?

Doubtless, many photographers have
pondered this question. Many have
felt that they were being pushed out
of the scheme of things at a time when
everyone wants to feel himself a useful
factor in making the world go around.
Has the time come now when we must
be a burden, performing a useless part
in the great drama? No! The answer
is No ! The photographer is as loyal
and patriotic a citizen as any in the
land. He is as ready to do his part on
land and seas as any other citizen of
the community, and if he is left behind
he can and is going to make of his work
something more than a mere vanity.
Photography may be one of the tools
for perpetuating beauty, but it is some-
thing more. It is the great and only
unprejudiced historian, which can write
indelibly into the pages of time the truth
of passing events. Not many of us will
be called to record the details of battle,
the terrible scourge of death which must
mark the winning of our cause, as
photographer Brady had to do in the
Civil War. Not many will have to risk
life and limb to tell future generations
the meaning of the word liberty in that
way. But who will say photography

PHOTOGRAPHY'S CALL TO THE COLORS

333

did not play a vital part in making per-
manent, by its chemical magic, this
curious story to fire the imaginations
of future generations with the truth
that liberty rests upon such tragic sacri-
fice and that great ideals must be paid
for.

Even as Brady, with his lens and wet
plate, has arrested time and made the
stirring events of '61 clear to us today,
so may every photographer photograph
the events in his individual town pre-
paratory to this great conflict, but he
may also preserve inviolate for mothers
and families the pictures of those who
have gone away, many of them never
to return. Somehow it is easier to part
with one if you have some permanent
token which can forever refresh your
memory of him. Let us feel that this
is a great and worthy work we do which
makes it easier for mothers to grant
separation that the great protecting
line may show no holes, no weaknesses.
Let no photographer feel that this is a
small duty, that it is not worthy of him,
that is not worthy of advertisement.
Every soldier owes it to those behind
to visit the photographer before his
departure for the front, for has he not
a duty to those who have nurtured him
from birth and tenderly cared for him
in childhood, as well as to his country?
Let the photographer feel honored that
he may play such a vital part. Let him
do all he can in the cause. If he cannot
enlist, let him encourage the govern-
ment's program with every means in
his power, and there are many. Let him
be not ashamed to advertise and to
emphasize simply and without exagger-
ation the duty to visit the photographer.
It is a duty and many will thank you
for bringing it to their attention. Buy
space in your local paper and start a
little drive along the lines indicated
below. These ads. have the martial
spirit. Everything that turns the mind
toward the great cause is helping it
flourish, if it be in the right spirit. Do
your part. By keeping your business
alive and a necessity to the community
you render a service and do not become
a burden to it. There may be enough
others made dependent, why should we
be among them? It is vital to the coun-

try that business be not impaired. So
up and get busy. Advertise. Do some-
thing to keep yourself, and to enable
you to turn something over to the war
exchequer.

[Boy's Portrait in Uniform.]

A photograph of your son now —
before he goes to the front. How dear
it will become when he is far away.

Smith, Photographer,

211 Jones Street.

[Mother's Picture.]

What soldier would be without it.
On the battlefields of France how pre-
cious it will be to you!

Take her to the studio today, brother,
before you leave for the front.

Smith, Photographer,

211 Jones Street.

[Family Group.]

While you are all together. Why not
have that group picture made today,
before he leaves for the front.

What wouldn't you give for that pic-
ture some day?

Go today. Smith, Photographer,

211 Jones Street.

There are many ways to advertise
now. At a time when the imagination
is aroused, a more dramatic appeal than
would be tolerable in peace times is
allowable and even advisable. Martial
window-trims are in order, and the
photographer's window can be made
really helpful to the cause.

Spread a few photographs of soldiers
about for fill-in. If you can get pic-
tures of prominent local citizens all the
better, and be sure and put a card
underneath their pictures telling who
they are. The example offered by these
prominent persons is certain to have an
effect. Change your display often.

If you have a good portrait of the
mayor, make a sepia enlargement from
it and put this in a frame as a center-
piece and beneath it place a card bearing
some martial statement he has made.
You have probably read something in
the paper he has said which will be
appropriate to this purpose. If there
has been a flag-raising or a departure of
troops you have, of course, secured
views of it and these will make interest-
ing and helpful decorations for your

334

SIMPLIFIED NIGHT PHOTOGRAPHY

display. A good picture of soldiers
gathered around the camp-fire, enlarged,
will make an attractive piece de resis-
tance for a window, and if you have a
turn for the dramatic you can arrange
an imitation camp-fire in the window
with electric lights and a fan. A stack
of arms on the sidewalk would heighten
the effect. At noon hour and at sunset
a boy-scout would be glad to stand in
your doorway and with trumpet sound
the appropriate military calls, a cere-
mony which you may be sure would be
talked about by everyone in town.

If you have a way of learning of the
young men who have enlisted, an appro-
priate card congratulating them as good
citizens, sent to them, and asking them
to step in to have a negative made,
would certainly not be lightly regarded
by the family to which he belonged.
And how precious those negatives will
become. You could even afford to
make post-card negatives gratis of sol-
diers in uniform, advertising the fact,

and granting one print, and giving them
a card stating the negatives would be
permanently filed in case in future
prints were desired from them. They
would not be forgotten.

In many such ways as this can a
photographer make his work and pres-
ence in a community helpful in this dire
hour and still profitable to him. It is a
time when every man needs to stand on
his own feet. It is a time when he must
feel that his work has a purpose beyond
a merely selfish gain. Photographic por-
traiture now, more than ever before, ful-
fils a lofty mission. It has been lifted
out of the category of mere luxuries and
become a necessity, of which we need
not be ashamed in this day of famines,
bread-lines and death. Photography
has heard its call to the colors and is
ready to do its part, on the firing-line,
by financial sacrifice, by self-main-
tenance, and by making itself a need to
those who must suffer.

SIMPLIFIED NIGHT PHOTOGRAPHY

By EDWARD R. TRABOLD

WE are in an age of progress. To-
day it doesn't pay to lose your
patrons, your temper, valuable
time, and plates because of insufficient
lighting. Don't be a failure because you
fail to grasp the golden opportunities
about you.

After using my first Cooper Hewitt
light for some time I obtained such fine
results that I was inspired to write to
enlighten brother-photographers by my
experience. During the course of one
year one can save enough by these uni-
form results and sure exposures to pay
for the light. Since writing the last
article I have found an easier way to
make fancy as well as plain lightings,
so simple that the amateur and the
professional will grasp the idea in as
few minutes as it takes to read this.

The whole idea is concentrated in a
small screen made, as illustrated, of

white cloth, with a dark curtain fas-
tened to the bottom of the screen so
arranged as to draw up.

If your studio is in a small town or in
a large city you cannot afford to be
without this light. We will take it for
granted that you have a fine skylight —
one that you consider good enough for
any kind of work — but the point is that
it is no good for night work. Because
of business conditions the average man
cannot come to your studio in the day-
time, but I find that he will when you
show him that you can do just as good
work at night as in the daytime. You
will also find that this light is essential
for a great many wedding groups — for
jobs that you are losing now because
some of your patrons that are married
in the evening are not aware you are
equipped to make sittings at night. I
will also say to those who have no

SIMPLIFIED NIGHT PHOTOGRAPHY

335

FIG. 1— SCREEN. LIGHT AND REFLECTOR
ARRANGED FOR BROAD LIGHTING

FIG- 2.— SCREEN. LIGHT AND REFLECTOR AR-
RANGED FOR EDGE OR REMBRANDT EFFECT

skylight and are using some other means
of lighting for their work, that they
are wasting money and time on outfits
that are more cumbersome, costlier,
and harder to run than the Cooper
Hewitt tube. For instance, around
Christmas time you will be surprised
at the number of sittings you can take
in the evening that otherwise will go to
your competitor who has plenty of time
during the day. This light is a boon to
any photographer during the rush sea-
son or in the dark winter days when the
light is poor.

If you make an exposure of a certain
lighting, i. <?., a linelight, etc., you can
duplicate it over and over again with-
out a failure, for all you have to do is
to remember the time, plate, etc. This
makes it dead sure, and the saving in
plates and material will soon pay for
your light. This light is a fine thing for
soft effects and I have never found a
lighting that cannot be made with it.
I have used it on babies with a quick

bulb exposure which have, with few
exceptions, been great successes.

The advantage is that you always
have the light ready instantaneously.
Simply turn the button, use it as long
as necessary, and turn it off again;
hence the expense is very little. The
photographs that accompany this ar-
ticle are of local young ladies in my own
town, and were made in the ordinary
run of business and not made especially
for this article. Give this light a fair
trial, and note the difference in the
number of your sittings and also the
fine, uniform results. My motto is,
"Once a Cooper Hewitt always one."
The light these pictures were made with
is a Cooper Hewitt, Type F tube, for
alternating current circuits, auxiliary,
reflector holder, tube and shifter, and
60 cycle light. It is hung on two
pulleys from the skylight, so that it can
be adjusted at will. A blueprint is sent
with the light and you can hang and
install it yourself, as it is not hard to

336

SIMPLIFIED NIGHT PHOTOGRAPHY

FIG. 3.— SCREEN. LIGHT AND REFLECTOR
ARRANGED FOR LINE LIGHTING

FIG- 4— SCREEN. LIGHT AND REFLECTOR
ARRANGED FOR BACK LIGHTING

understand, and is shipped wired ready
to attach. I have the auxiliary on
the side of the wall out of sight, with
two six-foot leads running from this to
the light. Any electrician will hang it
for a dollar if you don't care to do
it yourself. I would advise in the
use of plates — not fast ones, but
good old stand-bys. The exposure, two
to four seconds — allowance being made
for the type of lighting you are making.
With a faster plate these exposures can
readily be cut in half. In fact the faster
plates are recommended for work with
children. The exposure can also be cut
down by using a second fifty-inch tube.
The photographs show the sitter, posi-
tion, and lighting. In describing the
lightings I have tried to make them
clear and distinct without any frills.

Fig. 1 shows the light, screen and
position of the sitter. The only changes
needed for all lightings are, turning
the sitter on the stool and moving
the side-screen forward or back until
the desired effect is secured. Note
that the sitter is placed in front of the
light, with the screen between the sitter

and the light. Now, if you pull the
screen forward, the light falls on the
back of the sitter's head. (Of course it
is understood that the sitter is facing
the camera squarely.) Then, leaving
the screen and light as it is, have the
sitter turn to the right a little at a time.
The light will strike the side of the face
first. Then if you stop here, with the
head turned so as to make a three-
quarter view of the face, with a white
screen placed between the head of the
sitter and the light, you will get a good
edge lighting, although you can raise
or lower the light to suit. After two
or three attempts you will have it mas-
tered. If you turn the sitter further
into the light and move the camera to
the left, leaving the screen as in Fig. 1,
a good line lighting is secured. Keep
the reflector in position as shown in
Fig. 2, as you need a great deal of
reflected light. You can substitute a
mirror as reflector for obtaining some
fine double light effects. The mirror
should be fastened on a movable frame
so that it can be swung in any direction.
Now leave the head-screen and the side-

By EDWARD R. TRABOLD

WALLLINGFORD. CONN.

FANCY LIGHTING. CALLED REMBRANDT. LIG HT. ARRAN G E
SCREEN. ETC.. AS FIGURE 2. EXPOSE ABOUT FOUR SEC-
ONDS. USE PLENTY OF REFLECTED LIGHT. THIS PHOTO-
GRAPH WAS MADE FROM LEFT SIDE BY TURNING SITTER AND
CAMERA THE OPPOSITE WAY.

338

SIMPLIFIED NIGHT PHOTOGRAPHY

ETC. AS IN

l the sitter
.aine time moving
.vj rhe right until you have
-.A^e-quarters view of the face. You
will now have a back lighting. The
light falling on the right side of the
back of the head will leave the leftside
of the face in a soft shadow. Now turn
the sitter a trifle toward the camera and
move the screen back toward the back-
ground until the front edge is even
with the sitter's face. This will give
you a broad, plain lighting. You can
adjust your reflector, etc., a trifle
according to your own judgment. Some
photographers use a dark head-screen
but with the single tube I would not
advise it. The reader will understand
more clearly the manner of lighting and
general position of the accessories.

Silhouettes are easily made with a
Cooper Hewitt light, using the light
and the screen as you would a window.
One photographer I know has a home-
made fireplace painted on a screen, in
the back of which he lowers a tube, and
with the aid of a mirror in the bottom
of the fireplace, set at an angle of about
forty-five degrees, will throw the light

onto the face of the sitter. Then with
a small tube behind the sitter he lit up
the deepest of shadows.

This article is too short to give more
details than those already mentioned,
but if anyone requires any further
information I would be glad to give
further details regarding arrangements,
etc., by enclosing a stamp when writing
to me.

If you have room in your studio I
would recommend the following way to
hang your light, as it increases the
amount of light twofold and does away
with the head-screen. It is easier to
control and has the advantage of being

OUTFIT SHOWING ADJUSTABLE STAND AND
TUBES

able to be moved about the studio
according to your wire leads (see above
diagram). This framework is covered
all over with thin white cloth which
buttons onto the frame. In back of
this is tacked black cloth, and also
over the top. In this way the light is
reflected forward and also downward.
The auxiliary should be placed on the
bottom of the frame to help balance the
light.

You can surprise the folks in your
town with fine work made at night, and
can prove to the most sceptical that
daylight is not essential for making
good photographs.

*■- 4

By EDWARD R. TRABOLD

WALLINGFORD. CONN.

ARRANGED AS FIG 1, BRINGING REFLECTION
TO FRONT. EXPOSE FROM TWO TO THREE
SECONDS.

PRACTICAL PAPERS ON STUDIO WORK AND METHODS

Some Suggestions for Running a High-class
Photographic Studio

As there are more ways than one of killing a
cat, so there are more ways than one of running
a studio. If "tabby" is your objective, you
would hardly adopt the tactics usually asso-
ciated with the pursuit of "stripes." If you
propose to run a stamp and postcard outfit you
would hardly go about it in the same way as
though you were angling for the cream of soci-
ety. Even the details of business, with which
the general public has no concern, would differ,
and differ very widely. In the very cheap trade,
the careful numbering and storage of negatives,
for instance, is so much wate of time, space, and
energy. In business, you cannot afford to do
what you are not paid to do, any more than you
can afford to do what there is no object gained
in doing.

The method of running a studio depends upon
three conditions: What you can do; How you do
it; and Whom you do it for.

The photographic studio is a trade or profes-
sion— is, in fact, what you can make it. The
less of the personal element that predominates
the more of a trade it becomes, and vice
versa.

What, in short, is it that you want to do?
Are you after the volume of trade, or high prices
in particular? Will you cater to the masses, the
vast and predominating demand for a reliable
map of the human animal dressed as the dolls
of social requirement? or, Are you striving to
appeal to the nobler instincts, character, and
refinements cultivated and fostered by the high
exponents of a latter-day civilization? Given
the ability, this question, or something like it,
is the first that you will have to decide. And
you will decide it by what you can read into
the practice of it in the way of modification
with reference to your own particular necessities
and devotions.

As a recent writer on this subject has remarked,
a magazine editor could hardly provide the
necessary space for a man who was capable and
(340)

willing to exhaust the subject. It is therefore
necessary to specialize, and I propose here to
offer readers a few ideas— or, perhaps, it would
be more honest to say — since I can claim no
special originality for them — recapitulate a few
ideas for running a studio on neither cheap nor
even middle-class lines, but rather upon those
which lead to the expression of the personal
factor, and the comparatively high prices which
that expression always commands.

Personality is the most elusive thing in the
world, but whatever it is, and whatever it means,
that is, how it reacts upon our fellow-mortals,
and to what end, these considerations at any
rate may be differentiated for the purposes of
this note. We can say, for instance, that the
man who attracts us, with whom we feel per-
sonally at ease, whom we respect before we
know (whether we respect him afterward or
not), who can make us forget ourselves in the
interest of his society — that man has person-
ality. I mention these points only in illustra-
tion of that phase of personality which lies on
the surface, that, like the sparkle of some
precious metal in a chunk of dross, attracts and
interests from the outset; and, for a client, the
moment he enters your studio, to feel interested
and attracted by the personality of the photog-
rapher is half the battle of the business.

And yet this man may be a cold enough fish
when you come to know him better. That
points to the fact that personality on the sur-
face only serves one purpose — if a very valuable
one; that other, and perhaps "better part,"
reveals itself only gradually through prolonged
intercourse and better acquaintance. Interest
must be sustained beyond the reception-room,
beyond the skylight, and beyond the threshold
of your business. It must invade the innermost
sancta sanctorum of clients themselves: its influ-
ence must be felt there, where the surface
sparkles cannot reach to illuminate.

To be poor in either of these qualities, gifts
of personality, is to be the worse for it; in the
first case, interest will be inspired but not sus-
tained; in the latter, the interest can only

THE STUDIO

341

operate after the tools of enforced social inter-
course have mined and brought it to light.

This, I feel, is the flimsiest statement of fact,
and I have only remarked on it since it is an
absolute sine qua non in every class of service
which aspires to the dignity of a profession.
Doctors, lawyers, politicians, pastors, artists —
all and every one of these know full well that
humanity bows before the fetish of personality,
be it good or bad. And all photographers at
the top of the tree, and many who are still
climbing, know it full well also.

The next asset of the photographer, whatever
his personality, I put down as Tact. Tact may
or may not be a feature of your strong-person-
ality man; but, if it is not, he will suffer griev-
ously in his business relations with clients.

It has been said, and very truly, that the
money of a photographic business is made in the
reception-room; consequently, if you are want-
ing in tact and resource, if you are naturally
impatient and have difficulty in concealing
annoyance, leave the business-end of your
establishment in the hands of one perhaps not
so gifted as yourself, but who has just that
modicum of tact and good manners which in
many businesses, and it may be in yours, is
worth all the personality of a dozen others like
you rolled into one.

The artistic temperament is all very well —
it is fine, delicate, discriminating; but it has all
the defects of its good qualities. Conceded that
you can deliver the goods, it does not follow
that you can take the orders for them. If you
can, all the better for yourself, at a pinch; but
it is just as well, in running a high-class estab-
lishment, or any sort for that matter, to keep
out of the market department. Exceptions
will occur to everyone but, on the whole, more
dignity is lent to the profession by the absence
of barter with the principal. Leave that to your
high-priced receptionist. Get away from the
money-end. It will cost you cash; but a first-
class receptionist is worth her weight in gold
anyway. The money-end of the business is a
necessary evil, but that is no reason why you
should mix yourself up personally with it. If
you can avoid it, do so by all means.

After all, your reputation must count for
something. People come to you — the heaven-
born artist — knowing that you can and will do
them justice. They come to you for pictures;
take them, and without unnecessary delay. Prices
and styles with proofs. That is the ideal way.
The discussion of prices with such as I have in
mind is the fly in the ointment; for, remember,
the best class of client, to whom perhaps you
are no whit inferior intellectually, is in its way
just as touchy as yourself. A dollar more or
less to these people is nothing provided they
get what they want. Of course, even the best
studios are not visited by exactly the same class
of people throughout. That being so, how
much better to leave all classes in the hands of
your receptionist! Rather than talk prices, let
her prove and exhibit to clients the value and
virtues of your work. Satisfied with this, the
last qualm is dissipated, and they enter the
dressing-room fully aware of the satisfaction
they will receive at your hands.

But there will enter those — strange to the
special working of your establishment — who
will demand prices and styles before they sit;
and there will be times when the proprietor will
be quite unable to avoid them without rudeness.
In that case, he must do the best he can. Under
these circumstances, he would be well advised
to have a little conversation ready. Having
replied to a number of questions in terms of
cash, he may find his opportunity in such wise:

" . . . but I really dislike discussing
prices, especially at this stage. It seems to rob
me of my chief pleasure in taking pictures."
Thus the personal note is introduced, and,
noting the effect of this little speech, he may
then confidently continue:

"You know, what appeals to me is that my
clients should feel satisfied from my pictures
that I can do them justice. If that should be
so in your case, this is what I propose to do.
You have told me what you would like," or "I
have seen which are the styles you most favor,
but I would suggest that I take several different
positions in several different sizes. That is my
usual custom. It really is more satisfactory than
sitting for one particular style and size, as it
gives you a choice you would not otherwise
have. It also affords me an opportunity of
showing what I can do in your case, and it will
cost you nothing but a little extra time. Indeed,
I would go so far as to say that, if you have not
ample time at your disposal now, I would suggest
you make an appointment for some other day
when you would be more at leisure. Nearly all
my work is by appointment; but my convenience
in this matter shall be yours. Then when we
have the proofs you can decide which shall be
finished off. After all, we can do nothing with-
out the negatives, and you can have them com-
pleted in any style and at any price which you
may then decide upon. What do you think?
Shall we try several positions, including, of
course, some of those you fancy?" And you
will find that in nine cases out of ten the personal
bait will be swallowed — as, indeed, it should
be. It sounds good to most people, in my
experience; it proves workable, and the principles
are sound.

"And if none of the pictures suit, how do you
arrange?"

"Well, you can sit for your pictures as often
as you like. No charge is made for this. That
is the only way I can guarantee my work; and
by that means I am sure that none but satis-
factory pictures leave this gallery. But I very
rarely have any re-sits, owing to the number of
positions I take in the first instance. Re-sits
are troublesome to clients; but those who desire
to re-sit are welcome as often as they care to
visit me for that purpose."

This is straight talk. It is more. It is straight
dealing. It is more. It serves to emphasize
the personal equation for which people will pay.

Some Maxims in Reception-room Arrangements

And the third requisite is Taste.

As soon as a client enters your premises, she
should find that about her which will move to
admiration, or, at least, not incite to antago-

342

THE STUDIO

nism. Everything should be orderly, clean, and
in good style — the style of the proprietor — for
"style is the man."

If you care to make it so, the reception-room
can be "homely," furnished and upholstered
much as you might choose for a living-room,
not sacrificing anything, of course, in the way
of viewing convenience. The lighting of the
pictures should be good, just enough and not
too much. It is hardly realized, or, at least, it is
rarely practiced among the fraternity, or even
by exhibition committees, that photographs are
best seen by reflected light. This is fairly com-
mon to find in the case of, say, big-framed por-
traits; but the principle applies just as much to
small work, and given the taste and desire, it
should not be impossible so to arrange practi-
cally all pictures on show in such a way that
they are never seen in direct artificial light. If
daylight, it must at least be soft and diffused.

And do not crowd your wall with pictures.
Let them be of the best, and appropriately
spaced. The best pictures, if crowded, will
appear inconsequent. Give them room. Photo-
graphs, more than any other class of pictures,
want plenty of room owing to their comparative
lowness of tone.

And the furniture, too, should be roomy,
comforting to see, comfortable to use, not too
much of it, not too shiny — shining, that is,
with the shine of new varnish. High-power
varnish is an abomination anyway. Avoid espe-
cially the massing of heavy curtains with mean-
ingless cords and tassels that tie nothing and
collect dust. They have their uses — monu-
mental, theatrical — at times, in places; but you
do not want them about you always. Too
often are they heavy and lugubrious or garish
and tawdry of effect.

If good taste is to be a consideration, inas-
much as it is now under consideration, be chary
of the gilt on your frames. If you framed every
picture on its own merits, you would find very
little use for gold at all. The rule is never to
put a gold line round a picture when any other
color would serve its purpose as well. And that
purpose? Why, to set the picture off to best
advantage, to be sure. Gold nearly always
attracts, and therefore, distracts the eye. In
fact, even the lack of gold distracts— although
that, perhaps, is due to other causes. For
decoration, it should be used very sparingly, or
in great preponderance, for in its very preponder-
ance the eye will be the more apt to lose sight
of it. Any intermediate proportion is fatal in
the framing ol a photograph.

When to Talk A bout Prices

And the less obviously a show-room is a show-
room, the better sort of show-room it will be —
the more restful, the less distracting. Relegate
to an ante-room, if possible, all evidences of
business — desks, ledgers, pigeon-holes, and the
like. Keep the cash department in the back-
ground, as you may find it, as I have found it,
more satisfactory to keep the actual discussion
of prices until the time you can discuss such
matters with the proofs before you. The mere
viewing of the proofs tends to distract clients'

thoughts from the cash consideration. This does
not necessarily mean that you take no deposit,
although, in the case of guarantee work and no
charge for re-sits, deposits are apt to lose their
extrinsic value. It might be your business rule
that every client pays a fixed sum before sitting —
say, $5 — what you will, that is your affair.
But with the class of client I have in mind you
will probably find you can do without even this
business method. If so, all the better. At the
least, you can use your discretion. And this is
easily done; since your receptionist, in the course
of her duties, may mention casually that the
same nominal deposit is required of everyone
as a matter of from. The best time to arrive at
the actual price of the order is with proofs before
one. You stand a much better chance then of
getting your full price without rebate, and you
can, at the same time, best prove your reasons,
if required to do so, for charging such a price.

And How to Justify Prices

Every picture, you can then explain, is treated
on its own merits. Thus, to say that your
mounts are designed by yourself and executed
under your direct personal supervision on the
premises, and not in California, or Montreal, or
New York, means that they are exclusive.
You do not buy ten thousand cards and retail
them with pictures attached. You do things
differently. Having made the pictures, you pro-
ceed to build the mounts to suit them. This
means that you provide a more tasteful pic-
ture, regardless of price, than your clients are
likely to get elsewhere. This line of talk pre-
sents a direct appeal to the client's taste for
quality, exclusiveness, and personal attention,
which, in most cases, will obliterate any desire
to cut price, a thing which you must never do
under any circumstances, unless you can see
exactly where is the actual tangible return for
such concession.

Explain that, under your system, no one style
is better than any other. A client may show a
preference— that is a matter of taste; you may
yourself have a preference — that, again, is a
matter of taste; and one style must be worth
more than another for reasons which must be
apparent. The materials are more expensive,
the work is more specialized, the time it takes
to complete it, longer, and so on.

Is this business? I believe it to be business
of the best sort, since such methods tend to carry
the interest of the transaction into the homes
of clients, while at the same time it lifts the
whole matter above the level of an ordinary
business deal.

But this is not to say that, given the clientele,
a business run on such lines is any better than
a comparatively middle-class trade, except in
so far as the best is better than inferior taste,
and that it is better to do that which you like
doing rather than that for which you may have
no special desire, possibly even a special dislike.

The Final Aim — To Make Each Sitter
Advertise You

The subject is but scratched anyway; from
beginning to end the photographer must realize

THE STUDIO

343

he must cater to his clientele. What people
want, that they will have. When a client says
she does not like her pictures, she is always right;
but when she begins giving her reasons for her
dislike, in seven cases in ten she is wrong. This
only goes to prove that people generally know
a good thing, but do not always recognize a
bad thing when they see it. A few good reasons
and short tactful explanations thrown in, as a
matter of course, will put most of them right.
Why bother? Because if you don't or can't put
them right, someone is sure to trot along some
day and do the work you left undone, and that is
not usually such a long day off, and it won't be
done half so considerately, either.

It is a law, or a foible, whichever you will, of
human nature to treat oneself a shade better
than you can expect to be treated. Therefore,
I say, deal considerately, sympathetically, intelli-
gently, courteously, and not too mercenarily
with your sitter "whiles you are in the way with
him," for only by so doing can a photographer
ever expect to retain his client's interest in his
favor; encourage him to sing his praises as an
artist and an honest man, and return to him
for pictures — the liveliest test of his opinion of
him, that! — with the persistence of a recurring
decimal.

And if this is not good advertising, I don't
know what is, that's a fact. — L. Haweis, in
British Journal of Photography.

Good Enough

If we make a critical examination of most
photographer's showcases or windows we shall
be forced to the conclusion that although the
artistic sense has of late years been successfully
developed, the general level of technical excel-
lence has shown a tendency to a retrograde
direction. Modern conditions have doubtless
something to answer for in producing this result,
the very facilities for obtaining negatives and
prints tending to a toleration of inferior work.
When wet collodion was in use for portraiture all
negatives had to be developed on the moment,
and in the event of a poor result another plate
was at once exposed and the error rectified. Now
the faulty negative has to be worked up until it
will pass muster, and very often is handed to
the printer with a lingering feeling that after
all it would be best to throw it under the sink
instead of trying to print it. Our modern
printing processes are, unfortunately, too kind
to bad negatives, and it is a bold man who will
say nowadays that a negative is too bad to print.
With albumenized paper one had to use a decent
negative in order to get a good tone, for the old-
style glossy prints were either good or bad, and
what many men now regard as quite a passable
result would have taken its place in the latter
class, and been consigned to the wastebox
instead of being sent to the customer, or, worse
still, used as a specimen. The great bulk of the
ordinary photographer's patrons like brilliant,
well-defined pictures. They may assume a
liking for a foggy sepia print mounted on a piece
of brown paper because they must be in the
fashion, but in the majority of cases they would

be much better pleased with a picture perfect in
technic, mounted in a way to do justice to
its quality. It is a matter which can be easily
put to the test by showing samples in both styles,
and listening to, and profiting by, the comments
made upon them. Developing papers have much
to answer for in the production of mediocre
photographs, their very excellence and con-
venience of manipulation leading to carelessness
in working and the passing of inferior proofs.
It is, we believe, generally accepted that although
there is a wide limit in exposure there is only one
correct time which permits of the image being
fully developed and thereby producing the true
values of the negative, but how many people
trouble to ascertain this exposure, and perhaps
waste a little paper in doing so? Very few, we
fear. The average printer now gives a full
exposure so that he can make sure of some sort
of print every time, and does not worry much
about gradation or color so long as the prints
are fairly clean. We would recommend any
photographer on taking up a new paper to let
the manufacturer make him a few prints from
some of his ordinary negatives and to set these
up as a standard for the guidance of his printer
or himself. We all know the story of the printer
who said, in answer to a complaint, that he was
making the best of the negatives given to him,
whereupon his employer sent some out to be
printed at a rival establishment. These were
much better, but the climax came when our
printer said that he could beat them out of sight,
and he did so.

We remember many years ago an aspiring
young photographer who used to purchase any
published photograph which he thought to be
of unusual excellence, and to strive to produce
one which would Dear comparison with it.
Sometimes he thought that he had succeeded,
but after a few days he would see where there
were shortcomings in his own work, and then
came another attempt. This practice soon made
his technic as good as that of his unconscious
mentors, and his work became in its turn worthy
of imitation. There is a vast difference between
the soldier who practises steadily at the target
and one whose shooting is represented by a
feu de joie, and we have both these types in
photographers — the one who has attained per-
fection by study and labor, and the hit-or-miss
worker who depends on his natural ability.
Brilliant he may be in his ideals, but what of
that if he cannot realize them, if the fine effect
in lighting is lost by incorrect exposure and still
further injured by unskilful printing?

What we want our readers to do is to overhaul
their current specimens and to ask themselves,
Can better prints be made from these negatives ?
If they can, then in common justice to yourselves
make them, or get someone else to do it. Do not
think that the public will not appreciate the
difference. The ordinary man or woman may
know little about photography, but they are
much quicker in recognizing good work than most
photographers credit them with being. They will
accept poor prints if they cannot get good ones,
but if good ones are to be had the man who makes
them will get the trade. — British Journal of
Photography.

VIEWJ AND
REVIEWS

News Photographers Organize

At the suggestion of the Committee on Public
Information, the principal news photographers
have formed an organization that will deal as an
authorized body with the committee at Washing-
ton. A meeting of the representatives of the
leading illustrative news bureaus and syndicates
of the country was recently called in New York
by Kendall Banning, director of the division of
pictures. Plans were made for cooperative action
between the news photographers and the Com-
mittee on Public Information for handling both
official and unofficial photographs during the
war on a basis that will provide equitable oppor-
tunities and privileges for the large and small
syndicates, photographers, and dealers alike,
It is considered probable that the organization
created on that occasion will be extended into a
national association of news photographers, and
that it will be maintained as a permanent body
to represent the trade as a whole.

The photographers elected a Board of Repre-
sentatives, which was given authority to repre-
sent the photographic interests in their relation
with the committee in Washington. The board
is composed of G. W. Bonte, New. York Herald
Syndicate, chairman; C. R. Abbott, of Under-
wood & Underwood, Sceretary; Thomas F.
Clark, of the American Press Association;
Albert K. Dawson, of Brown & Dawson; George
G. Bain, of the Bain News Service; D. Z.
Murphy, of Central News Company; E. B.
Hatrick, of the International Film Service;
George Kadel, of Kadel & Herbert; George
J. Wilkinson, of Paul Thompson and Harris &
Ewing; H. W. Sierich, of Press Illustrating Co.

Representation in this body is open to all news
photographers throughout the country.

Photographers' Association of America. Official
Notice

After careful consideration and looking to the
best interests of the Association, the Annual
Convention of the Photographers' Association
of America, scheduled for Milwaukee, Wis.,
week of September 3-8, has been abandoned by
the Executive Board.

The American Congress of Photography will
meet on Friday and Saturday, August 3-4, at
Cedar Point, Ohio, immediately following the
Ohio-Michigan-Indiana Convention. This Con-
gress will outline the work to be taken up by
the Photographers' Association of America for
the coming year.

Ryland W. Phillips,
President of Photographers' Association
of America.
June 28, 1917.
(344)

New Ansco Catalogue

The Ansco 1917 Amateur Catalogue has been
received — "Anscoing America" is the title given
to the book, and a series of thumbnail sketches
depict the Ansco camera in use at many points
of historic and scenic interest in our country.

The book consists of 64 pages and was printed
in two colors by Rogers & Company, Inc., of
New York City.

Fifty-eight different camera offerings are
listed and described. Special attention is called
to the incomparable line of miniature cameras,
comprising the Ansco Vest Pocket series for
pictures If x 2\ and 2 \ x 3| inches. The higher
priced models are equipped with several choices
of anastigmat lenses, and these models all have
a simple and convenient focussing device which
is an essential feature for the finest anastigmat
work.

New tables showing the depth of focus, lens
speeds, and lens markings of the different lenses
on Ansco cameras furnish valuable information
to the amateur.

Complete price lists of Ansco Speedex film and
film packs, Cyko paper, Ansco and Cyko chem-
icals and Hammer dry plates are published in
addition to the camera descriptions. Amateurs
will find the book not only interesting but
instructive, and everyone is urged to write
Ansco Company, Binghamton, N. Y., for a copy.

Employees of Sprague- Hathaway Celebrate

The employees of the Sprague-Hathaway Co.,
of Sommerville, Mass., the well-known picture
house, recently held a celebration in their new
building and on the occasion presented the
firm with a handsome American flag. President
Wallis of the company, in accepting the flag,
made mention of the fact that the first American
flag, which was made January 1, 1776, was
unfurled in the neighboring city of Cambridge
at Washington's headquarters.

"National News in Pictures"

This is the title of a well-printed and attractive
publication, advocating the advantages of the
Harris-Ewing News Service of Washington, D. C.
The foreword tells the object.

"To present the story of our national life,
written in pictures that are the best neswpaper
copy it is possible to produce — this is the object
of the Harris-Ewing Photographic News Service.
To accomplish that end it has a staff of trained
newsmen who cover the field with camera and
caption as any city editor gathers his local news.
It offers the result in a regular service to news-
papers. Millions of people throughout the nation
today know at a glance the faces of people in the

VIEWS AND REVIEWS

345

public eye, introduced to them by Harris &
Ewing, through the years of that firm's existence
as the premier distributor of news pictures from
the nation's capital."

Here is another excellent example of the enter-
prise and business energy of George W. Harris.

The Art of Looking at Pictures — An Introduction

to the Old Masters.

By Carl H. P. Thurston

Most books on painting are written for people
who are already familiar with the subject. The
Art of Looking at Pictures, however, is a primer.
The methods of approach which it offers were
worked out in the course of the author's own
struggles to see something more than crudeness
and ugliness in the Old Masters, while he was
still keenly aware of all the obstacles in the path.
It points out only the things that anyone can see
with a little practice; but these things, and the
methods of looking for them, have been so
chosen that the reader soon begins to enjoy these
"dull" pictures in spite of himself.

It is essentially a practical book, arranged to be
applied, line by line, to the pictures themselves
or to a collection of photographs. The names of
the one hundred and twenty artists treated are
arranged in alphabetical order, and the "Direc-
tions for Looking" are applicable to any picture
by that artist, telling not merely what to look
for, but where to look, and how. The book also
contains much valuable introductory material,
a bibliography, an index, and an important
chronological chart. With 32 illustrations.
12mo, semi-flexible cloth binding, SI. 50 net.
Dodd, Mead & Co., New York, or through this
office.

The Gross Photo Supply Company

The Gross Photo Supply Company, of Toledo,
Ohio, are manufacturers of uncommon photo-
graphic mountings, and sell only direct to the
professional photographer. Their designs are
original and different, their service is excellent,
and their prices are surprisingly reasonable.
They are known as "The House that Ships
Promptly" Get in touch with them!

Rexo Book for 1917

We take pleasure in bringing to the attention
of our readers the 1917 edition of the Rexo Book.

This is a complete catalogue of the Rexo
Photo Products, manufactured by the well-
known house of Burke & James, Inc., Chicago.
This book will be of value and interest to every
camera-user, and a copy will be mailed on request.

Announcement

It is announced that the Philadelphia office
of the Cooper Hewitt Electric Company, manu-
facturers of mercury vapor lamps, has been
moved from 124 South Eighth Street to the
Drexel Building.

A Call for Photographers
American citizens highly qualified in photcg-
raphy (including experimental work) may be
enrolled as Chief Petty Officers or Petty Officers
of the First Class in the Naval Reserve Flying
Corps by applying to the Reserve Office, 26 Cort-
landt Street, New York, from 9 to 5 o'clcck.
This branch of the service offers to the patriot
oppartunity to perform invaluable service to his
country. "Men of spirit qualified in this work
should have their names on the roll of honor.

Surfacing the Enlarging Easel
An excellent covering for the surface of the
enlarging easel is the soft linoleum, or "cork
lino," sold extensively for floor coverings. It
should be glued down all over the board, so that
it may lie quite smoothly, and we then have the
luxury of a cork-faced easel into which the
feeblest pin can be driven with ease, while the
hole vanishes when the pin is withdrawn. — The
British Journal of Photography.

Pictorial Photographers of America Traveling
Exhibition 1917-1918

We have received the following announcement
from the Pictorial Photographers of America:

The Pictorial Photographers of America have
succeeded in perfecting arrangements with the
following art museums for the holding of exhibi-
tions of pictorial photography from September to
March, 1918: The Institute of Arts, Minneapolis,
Milwaukee Art Society; Chicago Institute; City
Art Museum of St Louis; Toledo Museum of Art;
Detroit Museum of Art; Cleveland Art Museum.

The collection will also serve as a traveling
exhibition to other museums with whom this
society is now negotiating. It is intended that
this exhibition comprise not only the work of
members of the association but that of all prom-
inent photographers in America. We, therefore,
cordially invite your cooperation and ask that
you send to us not later than August 1, not more
than ten of your selected prints, priced and titled.

We intend to have all prints uniformly framed
for their protection and also that a degree of
harmony may prevail throughout the collection.
After our selection has been made we shall ask
you to send us SI. 00 for each print chosen for
exhibition, this sum being necessary to defray
the cost of framing. At the termination of the
exhibition the framed prints will be returned to
you, properly packed.

Please give immediate reply to this letter and
return as soon as possible the enclosed leaflets,
properly filled out. Write plainly all information
on the back of your mounts, but do not paste on
the leaflets. This we shall do after the prints
have been framed. Mail prints in as small
package as possible; they travel with greater
safety in this way, and besides, we may have to
remount so as to preserve uniformity. Mail
your package to Pictorial Photographers of
America, 707 Fifth Avenue, New York, and the
earlier you send them the better will it facilitate
the work of getting the collection in good order
for presentation. Don't wait until the last day
before sending it. If your prints are available,
please forward them now.

Yours very truly,
Pictorial Photographers of America.

Correspondents should never write on both sides of
the paper ♦* No notice is taken of communications unlejr
the names" (& addrexres of the writers are given *■ *■
We donot undertake responsibility far fa opinions expressed by our correspondents

WORTH-WHILE LETTERS ON LIVE IDEAS

New Device for Depth of Focus Scale

To the Editor:

Sir: I notice in your valuable Journal that
you describe and illustrate new devices pertaining
to improvements in cameras.

I have a device (and a patent has been allowed)
on a lever focussing scale which indicates at a
glance the "depth of field" when set at each
point of the scale for critical focus. I enclose
herewith sketch, also two photographs; No. 1
shows the index lever (which is connected with
the camera front) set with the pointer locked at
10 feet. This is the point of critical focus, and
if for the photograph to be obtained you estimate
the distance at 10 feet you set the lever as usual
at this point. When you do this, there auto-
matically appears at the two windows of the plate,
numbers indicating the "depth of field," or, in
other words, the range within which objects will
be satisfactory sharply defined.

satisfactory focus as near as 26 feet, and at the
lower window the letters INF indicating that all
objects beyond 100 feet will be in focus.

To illustrate: Photograph No. 1 being set at
10 feet the figure 8 (feet) appears at the upper
window and the figure 14 (feet) at the lower
window, showing that we have a "depth of field"
in which the objects will be satisfactorily sharp
of between 8 and 14 feet.

Photograph No. 2 has the indicator set at 100
feet, and in this case 26 feet will be shown at the
upper window, indicating that objects will be in
(346)

This scale, of course, should be put on by the
camera manufacturer and the readings should
correspond with the focal length of lens used,
and the scale is intended to be graduated for the
full opening of the lens. The reason I did not
design the scale and cover for the other openings
of the lens is because, with the full opening of the
lens, you have the least depth of field, and
stopping down, of course, improves or increases
the depth of the field, so that if you work with a
scale showing the depth obtained with the full
opening of the lens, with any stop that may be
used, you are safely within the limits shown.

Upon the particular camera which is fitted with
this focussing device the length of the lens is
5 inches focus and the scale was laid out for a
stop of f|8. The complete scale reading is as
follows: When the lens is focussed at 6 feet the
depth of field shown at the two windows is from
5 to 7 feet. At 10 feet it it 8 to 14 feet; at 15
feet it is 10 to 26 feet; at 25 feet it is 14 to 88
feet; at 50 feet it is 20 to INF\ at 100 feet it
is 26 to INF.

I have thought of attaching a similar scale to
a Graflex camera because it is very desirable,
even with the Graflex, where you focus on the

CORRESPONDENCE

347

Depth of Focus Scale

ground glass, to be able to look at the scale and
see the depth of the field especially when we
focus on "near objects." A scale of this char-
acter attached to a Graflex, of course, would have
but two readings — that is, one window or open-
ing showing the distance to the near objects in
focus and the other opening showing the distant
object. For the Graflex, of course, we would not
show intermediate point of focus, because that
would be shown on the ground glass.

The big advantage in my depth of field scale
is the fact that all other "depths of field" are
obscured except the numbers applying to the
object upon which you sharply focus, and the
scale is quickly read because you see only two
figures and you do not have to take the time to
make a selection as you .would with an open
scale showing all readings for different points of
critical focus.

Harry L. Ide.

June 5, 1917.

A Universal Dark-room Developer

To the Editor:

Sir: Many things have been written con-
cerning tanks and tank-developers relative to
temperature, time, strength, etc., but I cannot
recall of reading of an account giving a pyro
stock formula with instructions for the proper
amount of dilution for the different methods of
development. For that reason I believe many
readers will be interested in a formula that will
adapt itself to be used in either the tray or tank
method without modification aside of the proper
amount of dilution, etc. After numerous tests
I have succeeded in formulating a system that
I have put to practical use for nearly two years
past with complete satisfaction.

If the following stock solutions are com-
pounded and used in accordance with instruc-
tions, satisfactory results are sure to follow:

Water 24 oz.

Sulphite soda (anhydrous) ... 4 oz.

Pyro 1 oz.

Water . 30 oz.

Carbonate soda (anhydrous) . . 4 oz.
(or crystals, 8 ounces.)

Water 16 oz.

Iodide potassium 30 gr.

For tray development take A, 1 ounce; B,
1 ounce; water, 6 ounces, omitting the iodide
solution entirely.

For tank development, use as follows: A, 1^
ounces; B, l\ ounces; C, 1 ounce; water, 30
ounces, or in these proportions according to the
amount of solution required to fill the tank in
use. Ascertain the temperature just before
adding the stock solutions, that is, test the water,
as the stock solutions will not affect the tempera-
ture perceptibly. Temperature should test 65°
and being careful that the duration of develop-
ment is carried on exactly twenty minutes.
This procedure will give satisfactory results on
most of the standard makes of plates, having
tested it on Cramer, Standard, Polychrome,
Hammer plates, with uniformly fine results.
Should it fail to give the exact density wanted
on other makes of plates, a change in the time
of development of, say, two minutes more or
two minutes less will doubtless bring about the
desired change in strength.

To some it may be a speculation as to what
action the iodide of potassium would have upon
the developer when used in the tank. In this
connection I will state that a very weak developer
often produces a slight stain or fog which would
result detrimentally to the printing quality of
the negative and this solution is an absolute
specific against this trouble.

The iodide solution can be added to any other
pyro tank developer that may be used in about
the same proportions as herein given with the
same assurance of being a complete stain
eradicator.

Of course it must be understood that all rules
governing tank development not herein men-
tioned must be regarded, such as changing the
position of the tank occasionally and other rules
of this nature, if the best results are to be secured.

J. H. BURKHOLDER.

A standard pyro-soda developer for normal
exposures is pyro, 2 grains; sulphite of soda, 12
grains; carbonate of soda, 14 grains; bromide
of potash, \ grain; water, 1 ounce.

For overexposure, increase the quantity of
developing agent, e. g., pyro, metol, etc., add
extra bromide up to 2 grains and use less alkali.

In making up pyro developers, the preserva-
tive (sulphite of soda or an acid) should be first
dissolved in the water and the pyro added last.

With all subjects that contain harsh contrasts
or err on the side of under-exposure, the devel-
opers should be diluted with twice its bulk of
water.

THE WORKROOM

By We JieotT Operator

Practical Points on Backgrounds

Something Novel

Illuminating in General

Negative Varnishes and a Substitute

How to Do It

F. Numbers

Photographic Production of a Lithographic

Key on Zinc and Aluminum
Photographing Animals
Extemporized Backgrounds
Shadow Side of the Face
Developing Gaslight Prints
A Few Rules I Have Found Good to Follow
Tinting Transparencies

Wide-angle

Practical Points on Backgrounds

The study of backgrounds is one to which
every assistant should pay special attention,
for nothing is so sure a sign of second-rate work
as a badly-chosen background. All first-class
photographers select the background with great
care, bringing all their judgment and artistic
knowledge into play. In many cases photog-
raphers have made a reputation and a big busi-
ness on the use and manipulation of artistic
backgrounds. To reach the front rank in
professional photography it is needful to become
expert in fitting these accessories into their
proper position with respect to the sitter and the
style of the picture. To take one background
to be as good as another so long as it is not
cracked or the paint rubbed off is an entire
mistake. As with clouds in a view, only one
ground will be most suitable for a particular
composition. The choice and selection of
backgrounds is a fine art, depending on the
personal ability of the photographer for its
success, and therefore it is no easy matter to
teach it to others. All that can be done is to
lay down several broad principles, which must
be modified to suit special cases. These principles
I will try to expound.

The subject and background must always
be in unity. A naked savage in the midst of
his natural surroundings does not strike us with
a feeling of unfitness. Put a top hat on his head
and the composition jars at once. Such mistakes
in artistic sentiment are seen in photographs — a
lady in evening dress being placed by the sad
sea waves or upon the wild and lonely moor;
a cyclist in a country lane standing upon a
carpet, and a man in evening dress in the midst
of woods, with a curtain suspended from the
clouds, are a few examples of a lack of unity
in sentiment. Such compositions are not so
common as they were, I am glad to say, and we
rarely see stone balconies built on carpets,
grass flourishing on the seashore, trees growing
(348)

Developing Large Plates

Rules for Success

Exposure and Size of Plate

Photographs
Use of a Mirror in Portraiture
Hints on Photographing Automobiles
Incongruous Background
Imitation of Artistic Methods
Copying and Enlarging in One Operation with

a Box Camera
A Hint on Photographing Machinery
Spots and Markings on Negatives
Silver and its Recovery
Metronome in the Dark Room

in drawing-rooms, and boats sailing on the moun-
tain-side as we did at one time. These crude
compositions have disappeared with the growth
of culture among photographers. They are often
very funny, it being a mystery how any one
could have let them pass. It is not easy to avoid
them in studio practice without the knowledge
that these mixed compositions are in bad taste.

The sitter and background must harmonize.
It is wrong to have the one simple and the other
complex. For instance, we all know the elaborate
backgrounds which some photographers employ
with their sitters. Pose a child in a plain
muslin dress against them, and the effect is at
once discordant; yet with the richly-dressed
society lady they harmonize well. The simply
dressed need a background as simple; the more
complex the personal adornments the more
ornamental must be the background.

A composition must have a fine balance
between sitter and background. It must not
be all sitter and no background, nor all back-
ground, and, puzzle, "Find the sitter." The
exact proportion to maintain is hard to lay down
by rule; it is just one of those things which only a
trained judgment can decide while the picture
is being composed. Very few photographs are
well balanced, the cabinet head, as a rule, being
wanting in background, the three-quarter
lengths having too much. The three-quarter-
length sitting is more often well balanced.

Objects depicted in the background must
be in true proportion with the sitter. Failure
to meet this condition is common to the majority
of photographic scenic backgrounds. Place the
sitter where you may, the perspective is always
false, and instead of true proportion the effect
is unnatural. I do not suppose that this can
ever be remedied completely. With the painted
background all that can be done is to avoid
having vases that appear as big as houses, roads
that are mere sheep-walks, and castles that must
be too small for dolls to live in. The same
applies to backgrounds which contain no definite

THE WORKROOM

349

outline; it is not always possible to place them
in such a position that the effect produced is a
real one. Nine times out of ten it is obvious
that there is a background behind the sitter.
What is desired is that the background, instead
of being distinct from the sitter, should be a
part of the whole composition. This is best
seen when the proportion is accurate.

Unity, harmony, balance, and proportion are
often secured by contrast. Thus the strongly
lighted side of a sitter may be placed against
the dark side of the background and the dark
side against the light — a double contrast which
gives a better composition than if the position
was reversed. The same is true of the subject
in white posed against a dark ground. When
the composition is mainly white, then a small
proportion of the black gives a contrast
which restores the harmony and the balance.
There is a given proportion between light and
shadow in every composition from which it
takes a characteristic appearance. The Rem-
brandt is mainly shadow, strong and vigorous
in effect. As the proportion of light is increased,
so the picture beomes more delicate; hence
ladies and children should be photographed so
that the light predominates, while men will
bear a much larger share of shadow.

Our leading professionals are giving up the
scenic background because they have found out
that the so-called "plain" background is, in
reality, an accessory admitting of endless varia-
tions. There is no such thing as an evenly
illuminated surface in a photographic studio,
every area being more or less shaded. The plain
background may be lighted in numberless ways,
all of which can be used in portraiture. To show
the possibilities of a plain background. I will
mention a few. Backgrounds can be lighted

From the top downward.

From the bottom upward.

From the left side.

From the right side.

From the center outward.

From the sides to center.

From the corners to center.

From the top to bottom corner.
Here are several different ways of lighting a
plain background, each one of which can be
utilized to make an effective picture. These
may also be combined to form other variations;
hence, skilfully used, the plain background really
consists of an infinite number of grounds. This
is no theory, but a practical fact, which can be
easily proved by comparing the backgrounds
of our painters and photographers. No two
are exactly the same, and until one has made
the comparison it would hardly be believed
how great is the variation and the possible
number of combinations. Add to this the power
of increasing and diminishing the illumination
of a plain background, and it may be understood
that our best photographers can get all the effects
they want without the aid of the scenic back-
ground.

Something Novel
The process which I am going to describe is
not entirely original, as it has been occasionally
employed by photographers heretofore, but, on

the other hand, it will appeal to many readers
because it is practically a novelty as far as
many readers are concerned.

The process consists of getting a photographic
image against a ground of gold or silver. To
secure this the simplest way is to make a thin,
strong transparency on an ordinary slow dry
plate, similar to those used for making lantern
slides. However, as they are not generally
stocked in sizes larger than lantern slide (though
they can be got to order), slow or ordinary plates
will have to be used; these can be had in all
sizes, and will be found to give results almost
equal to any lantern plates on the market as
far as this special purpose is concerned.

For the benefit of those who have not yet
made transparencies, I will say that they are
made in much the same way as a print on very
rapid bromide paper. The dry plate is placed
face down on the negative in a printing frame and
given a very short exposure; about one second
two feet away from an ordinary fish-tail gas
burner from an average negative may be taken
as a rough guide. The plate is then developed
in the ordinary way — but it will, of course, be
a positive, and development should be stopped
as soon as the image on the plate looks right by
reflected light, judged as in a bromide or gaslight
print.

When fixed, it will appear very thin by trans-
mitted light, but when laid on a piece of white
paper should look quite strong. The plate can
be used as it is, or toned to a desired color by one
of the usual methods from bromide paper or
lantern slides. I take it for granted that it is
understood that the transparencies can be
made by either contact, enlargement, or reduc-
tion, though, of course, it the picture is wanted
the right way round, the negative must be
reversed, as afterward it is to be viewed from
the glass side. If printing from kodak films by
contact, all that is required is to place the film
face down in the printing frame; if bv enlarge-
ment, or reduction, you can either reverse the
negative in the enlarger or expose the plate
onto which you are enlarging through glass.
Reversing the negative is best, as there may be
a little dirt on the glass of the transparency which
would show on the finished picture.

When dry, the plates are coated on the emul-
sion side with a silver or gold paint. Ordinary
gold or bronze paint (as sold by stationers) or the
aluminum paint generally obtainable is ail that
is required. This can be painted on with a brush
in the usual manner, but it is much better if
flowed on like negative varnish. To do this,
pour a pool of the liquid paint onto the center
of the plate, then tilt slightly until the liquid
flows to one corner; next it is tilted at another
angle until another corner is reached, and so on
on to the last corner, when the surplus liquid is
allowed to run back into the bottle. This
method gives a good, even film provided that
care is taken to avoid waves. If necessary,
a second coat can be given in the same manner.
When the first is dry a piece of paper should be
pasted over all, so as to avoid risk of scratching.
The picture is now ready for framing.

A narrow gilt bead is the best style of frame
for this class of picture.

350

THE WORKROOM

A description of the completed article is next
to impossible, but I can sum up by saying that
they have much of the brilliancy and relief of a
transparency, while the necessity of viewing by
transmitted light is avoided.

I can recommend the process as worthy of
attention by all classes of photographers. I
would also suggest that entrants in competitions
try one or two pictures by this method; it will
be found that results equally as pictorial as
those of the old processes are readily obtainable.
Also at exhibitions and displays, such pictures
will attract much greater attention than their
more ordinary rivals. It may be that they will
even successfully catch the judge's eye as
especially deserving an award.

I feel sure that professional photographers will
find it worth while to turn a few pet negatives
into backed transparencies, either for show case
or as specimens for orders. — A. P. R.

Illuminating in General

To the portraitist the illumination of the
sitter is a matter of such paramount importance
that he very often overlooks the very important
question of the general illumination of his
premises. This point has been impressed upon
us by recent visits to otherwise well-appointed
establishments, where the very latest and best
forms of artificial light were installed for the
purposes of negative-making, but where the
lighting of the reception-room, and even of the
studio itself, were years behind the times. The
lighting of many reception-rooms, even upon a
summer's day, would lead one to believe that
the owners were afraid of letting their customers
see the quality of their work. Windows filled
with stained glass, sometimes mixed with anti-
quated transparencies; windows opening into
small rock-work conservatories, heavy curtains
partly drawn, all help to make a depressing effect,
which is not the less evident at "lighting-up"
time, when the ill-placed and inefficient lamps,
either gas or electric, totally prevent a proper
inspection of the work displayed, although they
are sometimes effective enough in showing the
working-up.

We contrast this state of things with the show-
rooms or, we might say, gallery of a firm of
commercial designers which we had occasion to
visit recently. Here everything was fresh and
bright, walls of a neutral tone, and all softly
illuminated by light reflected from special fit-
tings, each of which held a cluster of concealed
metallic filament lamps. There were no hard
shadows and no reflections either from the sur-
faces of the pictures or the glasses which covered
them. Upon making inquiry, we found that the
price of such fittings was very reasonable, a
sovereign covering the cost of one of medium size,
exclusive of the lamps.

It is, however, in the studio itself that the
highest point of inefficiency is reached. Except
for the arc lamp used for lighting the sitter,
there is often barely enough light to enable the
visitor to pick his way through the furniture.
One or two worn-out carbon glow-lamps, fixed
high in the roof, give a sickly glimmer, and
serve to emphasize to the sitter the glare to

which he is often subjected. This is particu-
larly felt by children, and especially when the
portrait lamp is switched on after they have
entered the studio. As it is an axiom that a
room should be as brightly illuminated as pos-
sible before making flash-light groups or portraits,
so it should be when the electric light is used
in the studio. In this case the reflected light
system is hardly desirable, as a more cheerful
effect may be obtained by the use of bracket
lights with suitable globes or shades. With
modern lamps the question of expense need not
prove a deterrent, the .cost of current being
reduced to a point which enables it in many
districts to compete successfully with gas.

The lighting of the photographer's show-
window is, as a rule, fairly satisfactory, although
it sometimes suffers from a want of adaptabil-
ity, a fixed position for the lamps not being
suitable for all schemes of window-dressing. A
few standard lights, with suitable reflecting
shades, will often allow of a striking effect being
obtained with little trouble. Illuminated signs
are not used by the profession to as large an
extent as they might be. We do not advocate
an emulation of the picture-palace style, but a
neat transparent sign, with or without a pic-
torial center, would often arrest the eyes of
those who would not notice the window display,
especially in crowded thoroughfares. The idea
of illuminating a special lantern inscribed with
the words, "When this light is burning, the
electric studio is in operation," is not a new one,
but such a sign clearly conveys to the sitter
with little spare time that he will not be kept
waiting while the studio is prepared for him. —
British Journal of Photography.

Negative Varnishes and a Substitute

Although no practical photographer will
deny the efficacy of varnish for preserving much-
used negatives, writes L. Tennant Woods, in
Photo Notes, comparatively few photographers
use it. The probability is that there are many
like myself who cannot successfully apply modern
commercial varnishes, particularly those of the
shellac and spirit variety made for use with
heated negatives. It is all very well for arm-
chair experts to tell us how to apply it, but I
notice that most of them always make the
bewhiskered joke about more of the varnish
going down the coat-sleeve or the arm than upon
the film of the negative.

Varnishing with me is a necessity, as I fre-
quently take hundreds of silver prints from one
negative in all kinds of weather, and I have
found that, however careful one may be with an
unvarnished or otherwise unprepared negative,
it is impossible to proceed very far with the
printing without silver stains appearing on the
negative.

I have always been in favor of those methods
which enable one to specially treat a negative
while it is wet, so that it will dry in a state quite
impervious to silver stains, scratches, or other
kinds of damage, and as some zuch methods do
not appear to be generally known, not being
found in ordinary text or reference books, the
formulae and mode of using may be of service to

THE WORKROOM

351

those who, like myself, look upon the commereial
varnishes as a kind of anathema.

Shellac is unquestionably one of the best bases
for varnish, and probably the most widely used,
but I prefer it in a watery solution in which the
drained negative may be soaked. My formula is:

Borax 1 oz.

Orange shellac 5 oz.

Water 1 pt.

Dissolve the borax in the water by boiling,
add the shellac broken up in small pieces, and
keep hot until all is dissolved. Then filter, or
allow to stand for some days and pour off the
clear part from any sediment. The fresher the
shellac, and the longer it is allowed to stand after
mixing, the better and clearer will be the varnish.
If the color is objected to, the same amount of
bleached lac may be used in place of the shellac.
The negative, being drained after washing, is
placed in the mixture and rocked just as if the
solution were a developing or fixing bath. After
about fifteen minutes' soaking, the negative is
taken out, the glass side is wiped dry, and the
plate is then set aside to drain and dry in the
rack. If the negative has been allowed to dry
before varnishing, the water varnish may be
painted on with a soft brush. None of the
troubles associated with hot varnishing will be
met with, and a good hard and lasting coating
will be the result.

Lately I have been in favor of specially treat-
ing the film with tannic acid and alum, in order
to make the film tough and parchment-like, the
following bath being used for the purpose:

Alum 1 oz.

Tannic acid \ dr.

Water 8 oz.

The negative is washed well after fixing, and
immersed for four minutes — no longer — in the
above mixture, the dish being rocked all the time
so as to insure uniformity in action. The nega-
tive appears to darken a little and become more
brilliant, and the film glass-like to the touch. It
is then washed for a quarter of an hour and dried
as usual. If the negative is allowed to remain
longer in the bath the film may buckle at the
edges and perhaps leave the glass support. The
solution may be used over and over again until
exhausted, and the film is made so hard that
water may be poured over the surface and wiped
off again without injury.

How To Do It

How to get the people interested in your
studio and your pictures is the one thing you
must do. Other men, who have been long in the
business, have played all the schemes listed in
the catalogue and they have learned that what
will tempt the people at one time will fail in
another. In order to get the people in your
studio it is necessary to study the people.
Reduction in price will bring in one class of
people; invitation to an opening and a big bowl
of punch might bring in another class. Of course,
there is always a larger interest in a new studio
than in an old one. It is always much easier to
get the people in a small city into your studio
than it is in a large one. The question is how

to get them there, and each town and each city
must be studied separately until the right way-
is found, then work this as long as it will work
and then go after them in another way.

Once in the studio, the rest is easy if you are
the salesman, or have a salesman who under-
stands the people. One of the arguments which
can be used, if carefully handled, is to convince
the patrons that they have a large number of
friends who would be pleased with pictures of
them. There is born to everyone just a little
admiration of themselves, and they like to see
themselves on paper and send this to their
friends, and very few object if the photographer
succeeds in making the picture a little better
than the original.

Whatever you do to induce customers into
your studio, always give them more than you
have advertised, in one way or another. Con-
vince them that they have received more than
their money's worth and they will come again.

One of the best ways we know of to secure
patrons and to get people you are looking after
into your studio is to have as fine a reception-
room as you possibly can, with the best photo-
graphs that you can make on the walls. Redec-
orate it, repaint it, clean it and put up new
pictures, and then write out personal letters
asking Mrs. So-and-so to visit your studio on a
certain afternoon at a certain time. On that
same afternoon invite several other ladies whom
you know to be her friends, so that when they
meet they can have a social chat together, and
they get the idea conveyed to them that the
other is your customer and if you can make
pictures good enough for them they are good
enough for anyone. Then get another lot in
the next afternoon or the next week, always
taking care to invite on the same day, specify-
ing the hour, those ladies whom you know are
very friendly with each other. — Ohio Photo News.

F. Numbers

The photographic worker, either amateur or
professional, who is at all interested in lenses
may, I think, be assumed to have an elementary
acquaintance with the numbers (f numbers)
which denote the rapidity or "speed" of the
lens. Nevertheless, I have come across plenty
of workers of eminence, both in the amateur
and professional field, who could not say for the
life of them at what aperture a lens was being
used, and did not think it necessary that they
should have such knowledge of a lens's "speed."
I am not saying that their work suffered on
that account, but that was probably because
they were constantly using the same lens at the
same aperture, and thus eliminated speed from
the varying factors which govern exposure.
However, it can hardly be gainsaid as a general
rule that one should know with fair accuracy
what are the // numbers of an objective, and as
many old lenses which one may pick up for a
few shillings second-hand are not marked at all
with the diaphragm apertures, or often are
marked with numbers which will mislead the
present-day user of exposure tables and meters,
I make no apology for devoting one chapter of
this series to the subject.

352

THE WORKROOM

The// number of a lens, such as is marked on
lenses of the present time, is a ratio or quotient.
It is the focal length of the lens divided by the
diameter of the diaphragm aperture; in other
words, the number of times the diameter of the
stop will "go into" the focal length of the lens.
For example, a lens of 16 ins. focal length with
a diaphragn aperture of \ in. has an // number
of f/32. Therefore, to find the working aperture
of a single lens, all that is necessary is to know
the focal length and to divide this by the diam-
eter of the largest stop, repeating the process in
the case of the smaller diaphragms.

For measuring the diameters of the diaphragm,
a convenient plan is to cut a wedge-shaped piece
of stiff paper, or soft card, of such taper form
that the point will pass through the smallest
diaphragm but the thick end will not go through
the largest. The card should be of such narrow
angle that the length which fulfils these condi-
tions is about 5 or 6 inches. Then, in order to
find the diameter of each stop, push the paper
wedge into the stop, and with a finely pointed
pencil make a tiny mark on each side of it
where the edge of the stop touches the paper.
By then setting a rule across the wedge, with its
graduated edge touching these two marks, you
can measure the diameter of the stop with as
much accuracy as is necessary for practical
work. As I have said, the focal length divided
by this measurement gives the // number or
working aperture.

The above rule is correct only for single
lenses, and only for them when the diaphragm
is in front of the lens. For single lenses which
are used, as they are in rare cases, with the
diaphragm behind the lens, and also for all
double lenses where the diaphragm lies between
the two components, the method of measuring
the working aperture which has just been stated
is not exactly correct. This arises from the
fact that the front lens causes a certain conver-
gence of the bundle of rays which, passing
through it, fall upon the diaphragm, and there-
fore this latter is not the actual aperture in the
diaphragm plate, but an imaginary aperture
which is slightly larger. For practical purposes
the difference is not enough in nine cases out of
ten to make any difference in practical work,
but there is a very simple method of determin-
ing the exact diaphragm aperture which must
be used in finding the // number of a doublet
lens. It is as follows: Set up the camera with
the lens fixed to it in the ordinary way and
focus upon some distant object; in other words,
set the camera at the focus for infinity. Then
remove the focussing screen and insert in its
place a piece of opaque card, with a needlehole
about in the center of it. The readiest way to
do this is to cut the card the size of the plate
which the camera takes, and to insert it in the
dark-slide, placing the latter in its usual posi-
tion and pulling out both the shutters. If the
camera is fitted with single metal slides or is a
film camera, it is not a difficult matter to fix the
pieces of card in the position previously occu-
pied by the focussing screen. Then take the
camera into the dark-room and fit into the lens
cap a disk of bromide paper, placing the cap
upon the lens, with the sensitive surface of the
paper facing the front glass. An inch or two

of magnesium ribbon is now burnt an inch or
so away from the card at the back of the camera,
when, on developing the disk of bromide paper,
a dark circular patch will be obtained which is
the diameter which must be used for arriving
at the real // number in the way already
described, namely, by dividing the focal length
by the diameter. Instead of exposing bromide
paper, the needlehole can be pointed to a bright
sky and a piece of ground glass pressed against
the hood of the lens. The image of the real
diaphragm can then be seen and measured, but
the plan of exposing a piece of bromide paper
is much the more convenient. It should be said
that the extension of the camera must not be
altered between focussing upon the distant
object and the exposure of the bromide paper
disk in the dark-room.

So much for the method of finding the true
// number of a lens. I now pass to say something
on the various series of // numbers which are
used at the present time and have been employed
in the past. At the present time it is customary
to provide lenses with a series of diaphragm
apertures (usually by means of an iris dia-
phragm), each of which requires double the
exposure of the preceding diaphragm. Thus,
J/16 requires double the exposure of //l 1.3, and
the latter double the exposure of f/8. The
exception to this rule is the maximum aperture
of modern lenses which work at apertures greater
than f/8. The // number which requires an
exposure of half //8 is f/5.6, while //4 requires
half the exposure for this latter, or one-quarter
of that required at //8. But generally lens
makers, quite naturally, make the lens with the
largest aperture at which it will work, and
usually introduce an aperture intermediate
between this and f/8. Thus, many large-
aperture anastigmats are marked with the //4.5
aperture, with//6, and then with the series upon
the plan just mentioned beginning with f/8.

This arrangement is one which, I think, per-
fectly fulfils all the ordinary requirements of the
photographic worker, but in the past other sys-
tems of marking lens diaphragms have been
devised. Most of these are obsolete and survive
only on old lenses, such as one purchases second-
hand. Only one is still used for the marking of
lenses made at the present time. This is the
"Uniform System" devised years ago by the
Royal Photographic Society, known by the
initials "U. S.," and practically limited at the
present time to lenses made in America, or
fitted to cameras of American make, a fact which
is no doubt responsible for the belief sometimes
held that "U. S." signifies "United States."
The object of the "Uniform System" was to
afford a ready means of calculating the exposure
with any stop when that at any other was known.
Hence, //4 was taken as a standard aperture
and called No. 1, it being recognized that this
working aperture is the largest which can be
used in ordinary work. The stop requiring
double the exposure was called No. 2, and is
//5.6. Similarly, No. 4 is //8, and No. 8//11.3.
I quote here a short table from the B. J.
Almanac, which puts in a nutshell the two
series of diaphragm markings and the relation
of each to the relative exposure required accord-
ing to the stop which is used.

THE WORKROOM

353

Equivalent Fj -and Uniform System Numbers.

Rel. Exposure Required .... 1 2 4 8 16 32 64 128

F Nos 4 5.6 8 11.3 16 22.6 32 45.2

U. S. Nos 1 2 4 8 16 32 64 128

Obsolete Methods of Lens-diaphragm

Opticians in the past have, however, adopted
other methods similar in plan and intention to
that of the Royal Photographic Society, but
starting with a different aperture, as the one to
be called No. 1. Thus, the International Con-
gress at Paris in 1889 chose as the standard dia-
phragm one of //10 aperture, devising the other
numbers of the series so that each stop required
double the exposure of that preceding it. Accord-
ing to this system, therefore, No. 2 is / 14 and
No. 4 is f/20, while the lenses were marked as
|, |, and |, for stops requiring one-half, one-
quarter, and one-eighth the exposure at //10.
Many lenses of Continental make are still to
be found with the diaphragms marked accord-
ing to the system.

A further system was used for some time by
the firm of Dallmeyer, according to which the
stop marked No. 1 was one of aperture not
//10 but// VlO (=//3.16), the succeeding num-
bers being devised to require, each, double the
exposure of the preceding. Thus No. 2 is//4.7,
No. 4 is fi6. 32, and so on, but it is at least twenty
years since any Dallmeyer lenses have been
marked in accordance with this system. Two
Continental makers did also for some time
mark their lenses according to the Dallmeyer
standard of //3.16, but choosing other stops,
which they designated by numbers represent-
ing the number of times of exposure required
as compared with //3. 16. It may be that lenses
by these makers (Goerz and Voigtlander) are
still to be found with markings according to this
system, although I cannot say that I have ever
come across any.

Then another system of marking with numbers
which expressed the relative exposures required
was introduced some years ago by Zeiss, and,
like the numbers of other Continental makers,
has long been abandoned. According to this
system the stop marked No. 1 was, in the first
instance, jf/100. A stop requiring one-half this
exposure was marked No. 2, and is //71; one
requiring one-fourth the exposure was No. 4
(/50). Lenses marked in this way can readily
be identified with the system from the fact that
the smaller diaphragms have the smaller num-
bers, while with all other systems it is the other
way about. Subsequently, Messrs. Zeiss adopted
/ ,50 as the No. 1 diaphragm, No. 2 then becoming
/.'36, and so on.

This brief synopsis of the various systems
which have been employed covers all the lenses
which are likely to come into photographers'
hands at the present day. One other system
may perhaps be mentioned, as it is still in use
by the Zeiss firm and may mislead those who are
not familiar with it. In the case of convertible
lenses the diaphragms are marked with the actual
diameters in millimeters, so that the photographer
must find out for himself the // number when
using the lens by itself or in combination with
another. — British Journal of Photography.

The Photographic Production of a Lithographic
Key on Zinc and Aluminum

In order to facilitate the work of the litho-
graphic artist when drawing in crayon on zinc
or aluminum, it is possible to first prepare a
photographic image on the metal plate to serve
as a key, which may then be worked upon in
the usual way. This key may be obtained by
an application of the blue-print process to
metal, though in order to prevent the final
image from washing off the plate it is necessary
to pay attention to the following details:

A suitable sheet of grained zinc is first coated
with a 1 per cent, solution of citric acid and
dried immediately. The following sensitive
coating is then applied with a brush and like-
wise dried immediately:

A
Ferric ammonium citrate

(Bown scales) ... 30 gm. 1 oz. 25 gr.
Water to 150 c.c. 5 oz.

Potassium ferricyanide . 30 gm. 1 oz. 25 gr.

Water to 150 c.c. 5 oz.

For use: 3 parts A; 1 part B.

After exposing under a negative until the
shadows are slightly bronzed, the plate should
be washed in water, when a blue image results,
though a much stronger image may be obtained
if the plate is developed in a solution con-
sisting of equal parts of a 1 per cent, solution
of potassium ferricyanide and a 1 per cent,
solution of citric acid. The high lights of the
zinc may be considerably whitened and the
contrast thereby increased by treating the zinc
with a weak solution of nitric acid and alum.

A key may be prepared on aluminum in a
manner very similar to the method of obtain-
ing the same on zinc. A suitably grained
sheet of aluminum is first coated with a 1 per
cent, solution of oxalic acid and dried quickly
before a fan. The aluminum is then coated
with the ferric ammonium citrate-potassium
ferricyanide mixture, as in the case of zinc, and
rapidly dried. After exposure, the plate should
be developed in plain water, though if a solu-
tion consisting of equal parts of 1 per cent,
oxalic acid and 1 per cent, potassium ferri-
cyanide is used a bluer and slightly more intense
image is obtained.

Photographing Animals

In animal photography the first great essential
is an unlimited amount of patience. There is no
rule to follow, but try and make friends with
the subjects even before bringing them under
the skylight, also allow them to play about the
room.

Have the stand or table about where it will
be needed (that is, if one is used), the back-
ground, reflector and camera in place then

354

THE WORKROOM

bring subjects into the room, having no persons
other than the owner present. One should
have a number of holders loaded with either
Seed 27 or 30 plates, as these are the fastest
plates and give fine detail.

When focussing note how much the subject
may move and still be in focus, then insert the
holder and expose as they assume the different
positions. It may be necessary to allow them
to jump down and run around, and by all means
allow them to, for it is impossible to force them
to keep a position.

Extemporized Backgrounds

So often is a background extemporized out of
a shawl or a blanket, that it is surprising that this
very simple method of concealing all creases,
irregularities, etc., in such a ground is not used
far more often. It can be described in three
words — Shake the background. Portraits are
usually time exposures, and it is easy enough to
get some third party to keep the background
moving during the time of exposure, so that all
texture and other details on it will disappear in
the picture, and all that will be visible will be a
smooth even tint. If there is no third party to
do what is required, a string may be fastened to
the pole which carries the background and
given a few sharp pulls. — Photography.

Shadow Side of the Face

Contrasts are always stronger in the photo-
graph than they appear to the eye. Frequently
the shadowed side of the face seems to our
vision full of the richest, detail and truly our
eye is not deceived, for the detail is there, but
in the finished portrait we discover, for some
unaccountable reason, our deduction being based
on appearances, that the expected luminous
shadow areas have degenerated into mere mean-
ingless black masses.

The eye is thus contributory to a false judg-
ment of what the light is really effecting upon
the film. We must not forget the influence of
the mechanical phase of our art. We must bear
in mind that the art is not in the camera or
plate, but in ourselves. The plate remorselessly
registers intensities without appreciation of
exterior appearances.

When we predetermine that the shadows shall
not disappoint our artistic expectation, we must
take precaution that the unmeaning black areas
do not predominate. We must either introduce
direct light on the shadow side or rearrange the
illumination to throw light in that particular
part. To the trained eye the effect produced is
at once manifest and the improvement directly
visible.

By increasing the amount of front light, the
time of exposure is relatively shortened. The
whole scheme of illumination is more har-
monious. The light and shadow contrast more
and more decidedly by moving the model toward
the source of light.

It is best to use the reflecting screen with
caution. That is, use judgment, and not to
overdose the shadow side and obliterate the fine
detail.

The good agency of the reflected light from

the floor or the walls of the studio is not always
appreciated. It often is valuable in lighting up
the shadows. Every radiating object near the
sitter acts as a reflector and sometimes it hap-
pens that an unexpected blessing is conferred,
a charming result obtained without the oper-
ators intention or the divining of the immediate
cause of success.

This kind angel in disguise may have been the
book which the artist placed in the hand of the
model to complete the composition, but he
builded better than he knew, or it may have
radiated from the drapery or the garment of
the model. Whatever the cause, the credit
belongs to the photographer, provided he under-
stands the cause and subsequently appropriates
it.

Developing Gaslight Prints

The greater number of photographers who
use it appear to develop gaslight paper in a bath
of developer, immersing each print entirely in
the liquid. Having developed a good many
gross of gaslight prints up to 8 by 10 in the way I
shall presently describe, this mode of immersion,
used by many, appears to me particularly waste-
ful. There is also the chance of air bells, etc.,
which frequently show on prints so developed,
and the developer is so much sooner worked out.
Of course, I do not claim any novelty in this
method, as I did not originate it, but I have
never noticed this way mentioned in the many
articles on gaslight papers that I have read.

I use generally a plate of glass, clean, and 8
by 10, or larger, in size, and, in my own case,
lay this across two narrow pieces of wood, which
in turn lie across a tray larger than the glass.
On this glass the developing is done, and the
tray underneath is merely to catch the drip and
prevent it going all over the table or whatever
one may be working on.

If you have the luxury of a sink and water
tap in your dark room, you can put the glass
over the sink. Near at hand I have a small
measure glass, with, say, 1 ounce of developer
in it, and at one side a tray of clean water. After
exposing the print as usual, it is placed face
up on the glass, and, taking a piece of absorbent
cotton, dip it in the developer in the measure
glass, getting it thoroughly wet, and then rub
it over the face of the print, first lengthwise,
and then across, or vice versa, not forgetting the
edges, which sometimes appear to have a habit
of coming out a little slower than the center.

Continue the rubbing until all streaks have
disappeared and the picture appears even and
sufficiently dark, then transfer to the clean
water for a rinse, and immediately put into the
acid hypo bath.

The rubbing, of course, must not be too hard,
though it is wonderful what the paper will stand.
Rough surface paper must be especially gently
dealt with, and the edges of all grades must be
gone over carefully for fear of turning up the
thin film of emulsion.

Prints can be wetted before developing, if
preferred, but in this case the water should be
allowed to drain off a little, and it will be found
that the developing will take a little longer, in

THE WORKROOM

355

consequence of the slight dilution of the developer.
The wetting of the print first will, however,
insure even development, and it is advisable
in the case of prints larger than 6 by 8. Person-
ally, I prefer to develop the dry print.

A certain amount of local development can
be done in this way, by rinsing off the developer
when most of the print appears finished, and
applying the cotton to the part which is slow
in appearing. But it is advisable always with
gaslight papers to expose properly rather than
to force any part, as prolonged development
almost invariably produces stained prints.

Remember to rinse off the glass plate every
now and then, and to take a new piece of
absorbent cotton for, say, every three or four
prints. Absorbent cotton is cheap, and using
one piece too long may result in brownish or
greenish prints. The size of the piece of cotton
may be left to the worker. The writer uses a
piece about the size of a large walnut.

Using this method of development, it is really
surprising how many prints can be done with a
very small quantity of developer, and as to the
question of time employed, I find it as quick a
method as any other I know of, and I have a
good deal of this work to do in a commercial
way.

One other note I would like to add. Prints
can be dried unmounted best by placing them
face down on clean white cotton cloth or calico,
provided the fixing bath contains alum, as in
the bath prescribed for Yelox or Cyko paper.
If alum is not used they will possibly stick to
the calico.

A Few Rules I Have Found Good to Follow

Making Sittings of Children. Use plenty of
light; do not be afraid of using too much, for
the more you use the better the negatives will
be. Bear in mind that more light means greater
softness and roundness. The light should fall
from the front, both side and top. Children's
faces do not show any character, so that the light
may be as strong as wanted without destroying
the likeness. Another great advantage in using
a large source of light is, of course, to be had in
making the sittings quickly. I make all children's
pictures in snapshot work. This may seem bad
policy to the one who believes in the long expos-
ures, but, as stated above, I have not found
that it destroys any of the character, and inas-
much as I get a fully timed negative by using a
large source of light, the negatives show plenty
of strength. Also, I use, as a rule, light grounds
for children's pictures. I have always associated
the lives of the little ones with light and sun-
shine. Make their pictures show it. A child
is all out of place when shown in a picture as
though he were sitting in a dark room. Children
do not like night or dark rooms, but they do like
sunshine and plenty of it. It is their nature,
and why not show them that way?

Old People. Of all the subjects that come to
the studio, I would rather photograph the old
folks than any. Every face means something,
and every line in the face means some trial
overcome, some story that we all could profit
by if it were not for the fact that we all have

to learn by actual experience. For such subjects
I use the light from a lower source, working it
more from the side and rather farther to the
rear of the subject than usual. Do not try to
fill every line and wrinkle with light, thinking
it will better the picture. It makes it weak in
character. A better plan is to use the lens open
— that is, without a diaphragm — and focus well
up on the end of the nose, so that the face may
be in a soft, delicate diffusion. Far be it from
my intention to recommend the fuzzy, woolly
type stuff that is often seen, but a soft, diffused
focus gives to the old face the softness of age
without destroying character and without
exaggerating the lines, as is often done, both
intentional and unintentional. Some operators
seem to think character expresses more than a
delicate handling of the lines.

White Draperies. Pose the subject close up
to the light and use a very small opening; in fact,
some of the very best things I ever made was
by an opening no larger than a window. This
allows the operator to concentrate the light
directly at the face of his subject, and the drapery
is thrown down in a lower tone by reason of the
light being too small to spread all over the entire
figure in even strength. Also, the figure should
be turned a trifle from the light if perfect detail
is to be secured. By having the figure turned
from the light it throws the front of the figure
in shadow, and the shadow, of course, holds back
the details and thus prevents the drapery from
developing ahead of the face to the extent that
the detail would be lost in it.

Dark Draperies. Use light falling from the
front, and have the top light a little in excess
of the side light and the figure facing more to
the light. Better detail is the result and less
screening is needed. Be sure to time for the
deepest shadow in the drapery if it is to show the
detail. One cannot get the detail if the exposure
has been too short. The face must be toned down
so that there is an even blending of the lights into
the shadows, for if this is not done the lighting
will be harsh, and the face will stand up like
marble while the drapery will look more like a
charcoal drawing.

Hollow Eyes. The light must fall from the
front and low down. This means that the opera-
tor must use his light low enough on the side
so that it can get into the eyes. Bear in mind
that light does not bend out of its course, and
if it is falling from above the subject it cannot
bend out on the brow and then bound back
again to get into the eyes. The operator must
so arrange his curtains that the light is directed
into the eyes, and it will be found that when this
is done it will be from a lower point than he is
in the habit of working the light. The little
catchlight that should appear in the eyes can
only be gotten by the use of a light that is low
enough to fall across the nose just at its root,
so that really the light passes between the two
eyebrows, over the top of the one on the light
side and under the one on the shadow side,
and thence into the shadow eye, and the catch-
light is the result.

Long Neck. Turn the subject's body a trifle
from the light and the face back to the light
and lower his head. By so doing the chin comes

356

THE WORKROOM

down toward the shoulder nearer to the camera
and the line of the neck is visibly shortened. At
the same time the camera should be raised above
the subject's nose, so that it really looks down
on the chin.

Long Nose. Raise the subject's head and
lower the camera, so that it comes under the
nose and allows the nostrils to show from the
lens.

Short Nose. Raise the camera and lower the
subject's head, so that the nostrils can barely
be seen.

Long Face. Use front light and rather diffused.
Make a three-quarter view of his face, unless he
has a hollow cheek, when it is a good plan to
allow the ear to just fill the hollow of the cheek
on the shadow side of the face.

Short Neck and Round Face. Have the sub-
ject stand, even though a bust negative is to be
made. This allows the shoulders to fall lower
and the weight of the body is pulled downward,
so that all features and members are elongated.
Make almost a profile and use very strong light
from the side and no reflected light on the shadow
side of the face. Remember that contrast gives
a lengthening effect to a round face. One reason
the moon is said to be full is because there is no
shadow on it, and the result is that it is perfectly
round. The same is true to the one with a short
neck and round face.

Bride and Groom. The bride should be posed
on the light side of the picture — that is, on the
side next the light. This is done so that a small
opaque screen can . be brought close up to her
and screen down the drapery, so as to show the
detail in the whites. At the same time, the groom
being farther from the screen than the bride, the
light falls over the top of it on his black clothes
and thus gets the detail in the blacks.

Hands. Be careful to allow just a trifle of
the cuff to show in the man's picture, for it makes
the hands appear smaller than anything else
can do. Also, as a rule, the hands should be
posed somewhat to the side, so as to appear
smaller, and should not be placed directly under
the face nor in line with the face. They should
be screened somewhat, so as not to be lighter
than the face.

Blondes. Use a low key of light, so as to get
all of the strength possible. As a rule, the blonde
appears to be lacking in strength in the picture
unless so handled. Some shadow effect is good,
but do not make the mistake of making a con-
trast lighting, thinking it is a very low key. A
low-keyed lighting should have just as much
softness as the high key. Soft, delicate detail
should be seen all through the entire lighting.

Brunettes. A higher key of light, and the face
so toned down that it is brought in closer touch
with the hair. The hair, being black, will lack
detail if the face is not toned down so that the
exposure can be given long enough to get the
details in the hair.

Glossy Flesh. Where the flesh is moist it
makes the high-lights stand up too strong, and
the result is a harsh lighting. If a powder puff
is passed lightly over them with just a suspicion
of powder on it, it will kill the gloss and the light-
ing will be more even and show better detail
in the high-lights.

Dry Flesh. Sometimes the flesh is so dry and
of the same tone that the results shows the face
to be flat, with no half-tones. If the operator
will have handy a small vial of oil, which
has been scented up with lavender water, and
just touch his finger to the mouth of the bottle,
getting the smallest bit of oil on it, and then
touch the flesh where the high-lights should
appear, he will get much better roundness. Too
much oil will give a harsh effect. The lavender
water is to make the oil have a better scent.

Staring Eyes. Light the subject in a very
low key of light, so that an exposure of several
seconds has to be given, and then have the
subject wink the eyes several times while the
exposure is being made. The winking of the
eyes does away with the stare.

Sleepy Eyes. Have the subject lighted in a
low key of light, so that several seconds' exposure
has to be given, and then have him look directly
in the center of a large black background or
black cloth. The eyes will expand somewhat
and the expression is much better and more
animated.

Crooked Nose. Show the side of the face that
has the hump of the nose. Do not photograph
into the hollow of the nose, as that makes it
appear worse. Use broad lighting, falling from
the top and front, making the shadows fall more
downward.

Mouth That is Lower at One Corner Than the
Other. Pose the subject so that the head may
be tilted toward the side that is higher. This
lowers the corner that is higher and raises the
corner that is lower, and the mouth is made to
appear straight. By "tilting" the head I do not
mean to turn the head, as that is quite different.
I mean to tilt the top of the head to one shoulder
or the other, whichever is needed.

High Cheek Bones. Use front light, from top
and side, and make a front view of the face.
The light should be soft and the shadows full
of detail. — Felix Raymer, in Trade News.

Tinting Transparencies

A little careful tinting is a great improve-
ment to a good transparency; a tastefully
tinted slide is as far in advance of a toned slide
as the latter is of the cold black and white
monotony which so frequently makes it appear-
ance during an evening's entertainment. Of
course, this is rank heresy, for everyone knows
what an inartistic abomination a colored slide
is; but in this case we are not dealing with gor-
geous commercial productions, but with a home-
made transparency, in which the main features
have just that suggestion of color which so
materially assists in adding atmosphere and
atmospheric perspective where otherwise the
methods of production hardly permit those
desirable features to exist.

The method of tinting slides which is here to
be described is a simple one, and no knowledge
of artistic manipulation is necessary in order
to produce decidedly pleasing results. The one
thing which must be borne in mind is to apply
all tints lightly; it is a suggestion of color rather
than the actual thing that should be aimed at,
otherwise we shall soon find ourselves encroach-

THE WORKROOM

357

ing on those wonderful emerald skies with purple
clouds so dear to the heart of the professional
"brother brush." A finger-dabbed firmament
in Prussian blue is more suited to the " Bertillon"
system of identification than the regarding of an
artistically appreciative audience; we cannot,
therefore, too strongly insist on the necessity
of avoiding bold coloring, as the unavoidable
crudeness of the more transparent colors abso-
lutely compels careful and discriminate use in
order to maintain that mellowness of tone
peculiar to nature.

The clearest way of showing the method to
be employed when tinting gelatin transparencies
will be to imagine a subject, such as a landscape,
composed of sky, distance, and foreground with
foliage; but before commencing on our subject
it will be well to draw up a short list of the mate-
rials required; and to avoid the trouble of mixing
tints a fairly full palette should be selected.

My own plan has always been to purchase
one pennyworth of the aniline color in crystal
form, and then dissolve it in two ounces of distilled
water. This is a decidedly vague receipt, but
its simplicity should prove a recommendation,
and, after all, the strength of the color is imma-
terial, provided it be not too weak to give the
deepest tone desired. Colors can, of course, be
thinned to any extent by adding water to them
on the palette.

With regard to brushes, two, or at most
three, will suffice — a camel-hair mop, about
the size of the little finger, and two sables of
different sizes, both fairly small. These are the
absolute essentials, and nothing else is required,
unless, when dealing with some exceptionally
difficult and intricate subject, in which case
crystal varnish and an additional brush must be
procured.

We will now commence work on our imaginary
transparency, consisting, as above indicated,
of sky, distance, and foreground, with foliage.
The colors required will be blue, brown, and red.
Place the transparency in a convenient-sized
dish (say, 4 by 5) to soak, leaving it there for
about five minutes, and while this is taking place
mix a little of the blue with about four times its
bulk of water on the palette. Now take up the
transparency in the left hand, and after slightly
draining it hold it in a horizontal position, and
mop on the pale tint of blue, so as to cover the
entire surface, including sky, distance, and fore-
ground. As soon as the gelatin is lightly stained
(say, in two to four minutes) plunge the trans-
parency in the dish of water to remove the sur-
plus color, and then lift it out, this time keeping
the plate vertically inclined, with the sky down-
ward. More color must now be mopped on to
the sky, beginning at the horizon, and allowing
it to flow toward the zenith; finally, when the
sky is dark enough, the surplus must be once
more washed off by immersion in the water dish.
At this stage allow the slide to dry for about
five or ten minutes in a horizontal position; face
down, with the tour corners resting on an old
plate box, is the best way, as it lessens the danger
of dust falling on the moist gelatine.

The brush should now be well washed and
some clean water placed in the dish preparatory
for the second painting.

Take some of the brown tint and mix it with
water on the palette, taking care that the color
be not too strong. Now hold the slide over the
water dish, sky upward, and go over the distance,
foreground, and foliage with a clean brush
dipped in water, and afterward with the brown.
By holding the slide almost horizontally, the
brown color may be accumulated on it, the
greater depth, however, being allowed to rest
on the immediate foreground. It is by this
method of flowing the tint, much as varnish is
used on a negative, that the most delicately
graduated tones are obtained, and the color
may be worked from the palest of yellows in
the distance to a tint of gradually increasing
strength, which adds wonderfully to the effect
of distance, and hence atmosphere, and at the
same time brings the foregroung up to our very
feet.

As soon as the brown has done its work the
surplus color must be removed by plunging
the slide in the water dish, and after a very
little draining it may again be partially dried
for five to ten minutes, while the brush is again
washed and the water in the dish changed.

The general appearance of the slide now,
if all has gone well, is a graduated blue sky
considerably stronger at the zenith than at the
horizon, while the remainder of the picture is
graduated from distance, or even the tops of
the large trees, to the foreground in a mellow
tint of green in gradually increasing intensity.

The third and last tinting consist in applying
a second coat of brown to such parts of the fore-
ground as are best represented by that color,
always being careful to go over the part with a
wet brush first, and finishing without washing
the slide, as in previous paintings. The distance
is sometimes much improved by filling the brush
with a very thin tint of red and then passing it
once or twice gently along the horizon, thus
slightly warming both sky and distance. If
there are any figures in the picture they should
be picked out in much stronger tints than have
hitherto been used, and this should be done
when the gelatin has dried for a quarter of an
hour or more, in order to avoid the stronger
tints running, which they are very apt to do
if the slide is too moist.

This practically concludes the simple process,
and if entire satisfaction is not felt in the result,
twenty-four hours' immersion in a pint of water
will remove every trace of color without doing
the slightest harm to the transparency, which
may be retinted and washed several times until
the desired effect is attained.

Developing Large Plates

It is not the lot of every photographer to
undertake the production of large negatives.
WThen such work is taken in hand there is often-
times some hesitation in the application of the
developer. The plates being costly, the results
must be the best that can be obtained. Gener-
ally, a test plate of 8 x 10 size is tried in the
first place, these plates having been coated with
a portion of the same emulsion that is employed
in the coating of the large plates. This will
enable a correct exposure being made upon the

358

THE WORKROOM

larger plate. Such tests only apply when the
exposure is made in the studio, as in the case of
copying and enlarging. When a portrait is to
be made, or a large view, the photographer must
rely upon his previous knowledge of the general
quality and rapidity of the plate. Take, for
instance, such a view as the skyline of New York
City, upon a plate 25 by 40 inches. Correct
exposure and great care in developing are essen-
tial to produce a good negative. In the case of
a portrait upon a plate 25 by 30 inches, correct
development is absolutely necessary.

In such cases it has always been the practice
of the writer to wet the plate thoroughly in the
first place before pouring on the developer.
The tray being thoroughly clean, it is filled to a
depth of one-third with clean, cold water, the
exposed plate being placed therein, and the tray
rocked gently, so as to prevent air bubbles
being formed upon the surface, the developer
being already mixed for pouring upon the plate
after the water has been poured off. Of course,
the water must be allowed to remain upon the
plate until a perfectly even, wetted surface is
the result, so that no streaks are formed when
the water is poured off.

An excellent developer for large plates is
made up as follows — one that can be relied upon.
There must be no experimenting with these
expensive plates; good results must be obtained
every time: Make up a solution of carbonate
of soda to test 60 on the hydrometer; then make
up another solution of sulphite of soda to test
40 on the hydrometer; take equal parts of each
and mix them in a third bottle; mark this
"mixed sodas." Prepare a solution of pyro-
gallic acid to measure 20 on the hydrometer;
take 8 ounces of this, add 20 grains of oxalic
acid, shake the whole until the oxalic acid is dis-
solved. Make up a 10 per cent, solution of
potassium bromide by dissolving half an ounce
of potassium bromide in 5 ounces of water.
Having these solutions ready, the developing
agent must be made up as follows: 8 ounces of
the sulphite of soda solution at 40 hydrometer
test is taken and poured into a large glass grad-
uate, and add 1 ounce of the bromide solution
and 1 ounce of pyrogallic solution, 2 ounces of
the mixed sodas, and 24 ounces of cold water;
call this No. 1. Mix in another graduate 1-|
ounces of pyro solution, 8 ounces of the mixed
sodas, and 24 ounces of cold water; call this
No. 2. Now take 12 ounces of the first pyro
mixture, and 12 ounces of the second. There
are, in fact, two developers; they give very soft
results. Pour this mixture upon the plate with
one clean sweep, tilt the tray so as to give an
even flow, watch the result. Generally this
combination of developers will give a beautiful
negative; if the development is proceeding all
right, allow it to continue; if the image is com-
ing up a little slow, then add 2 or 3 ounces of
the strong No. 2 developer; the image will soon
gain in strength. If the image is developing too
fast, pour off the whole of the mixed developers,
and, without washing, pour rapidly into the tray,
all over the plate, the balance of the No. 1
developer. This will check the action at once;
it will keep the shadows from being acted upon
unduly, and the high lights will gradually build
up to the required density.

As soon as the plate is fully developed, tilt the
tray, drain off the developer, and flood the plate
with clean cold water from the faucet. Wash
the plate well, carefully lifting it so as to wash
out every trace of developing solution from
beneath the plate.

The fixing is best done in a chrome alum hypo
fixing bath. This will give a clean, clear image.
Always allow the plate to remain in the fixing
solution for a quarter of an hour after fixing
appears to be complete. This will insure a nega-
tive that will not turn yellow in the course of time.

The negative must be washed several times,
then placed in a solution of common alum of 5
per cent, strength and rocked gently for fully
five minutes. It must then be removed and
washed in running water for an hour, and finally
the surface very carefully wiped with a large
tuft of wet absorbent cotton, rinsed well under
the faucet, and placed upon clean blotting-paper
or in a suitable rack to dry. The result will be
a perfect negative in every particular — one that
will be fit to print from in either silver, plati-
num, or carbon. The use of the two developers
will enable the operator to control the devel-
opment in such a way that no other plan offers.
The value of a large negative being such that
great care and pains are required in its produc-
tion, it will not matter if the time of exposure
should be a little under or a little over or just
right. A thoroughly good negative can be made
by the above method of developing. It can be
made contrasty, or soft, or anything interme-
diate. The mixture of the two will enable the
operator to judge the quality in a very short
time, so that he can add either of the developers
No. 1 or No. 2 just to suit requirements.

As a transparency developer for the making
of enlarged negatives, No. 1 developer cannot
be surpassed. It is slow in action, keeps the
shadows clean, produces a very fine color, very
much like ferrous oxalate. If an enlarged nega-
tive is made from such a transparency when it is
only surface dry, the negative cannot be distin-
guished from one made direct, because the
transparency thus made is almost grainless, and
possesses just the color that is highly suited for the
enlarging process.

Various colors in the deposited image can be
obtained by mixing the proportions in a pyro-
gallic developer. The writer has used many
other developers for large plates, but for cer-
tainty of action and reliability in securing a
good negative, and securing such a negative
every time, the pyrogallic developer is the one
to be relied upon. Employed as described,
there need be no fear of not securing just the
kind of negative desired.

Never use this developer a second time upon
a large plate. There is a risk of staining and a
deception in the right depth of density during
development. Always use a fresh solution; then
a good negative will be the result every time.

A dark band across the middle of a carbon
print is generally due to bringing the squeegee
down at this place when squeegeeing to single
transfer paper. The squeegee should be started
at the end.

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359

Rules for Success

Can't say about the other fellow striving for
artistic and financial success, but as for myself
I find that trying to live up to the following
set of sixteen rules is slowly but surely bringing
me a measure of the success which I have been
working for. I give them here for what they
are worth.

1. I put the utmost into my work that "within
me lies."

(Have yet to make the first picture that
satisfied me.)

2. Advertise to the extent of 15 per cent, of
my gross business.

(Daily papers and booklets exclusively.)

3. Undeviating prices commensurate with
quality.

(Do not be afraid of getting them too high.
You will still have enough fear left to keep
them within reason.)

4. Change my showcase regularly once each
week.

(Case holds two pictures, one on each side.)

5. Employ receptionist who knows how to
sell my product.

(Get the best to be had at any price.)

6. Try to be invariably courteous, cheerful
and optimistic.

(All three of equal importance.)

7. Never, never knock competitors.
(Cannot overestimate the importance of this.)

8. Demand and get utmost cleanliness
throughout studio.

(One of the hardest things of all.)

9. Take a good long vacation each year and
attend all conventions possible.

(This will prove money in your pocket, not
to mention health.)

10. Always willing to learn from salesmen and
demonstrators.

(They all have something good for us and are
invariably willing to impart it.)

11. Read the trade journals.

(Can't keep up-to-date without them.)

12. Keep equipment up-to-date.
(^Advertising pages of trade journals keep us

posted.)

13. Use artistic and exclusive mounts.
(Something the patron cannot get elsewhere.)

14. Send out proofs in a neat and artistic
manner.

(Mount proof in portfolio, one to the page,
wide margins.)

15. Send out finished work in neat and fin-
ished manner.

(Neat, white tissue-paper package with artistic
gray seal is good.)

16. Use refined stationery.

(Appropriate to the class you are trying to
reach.)

There are a thousand and one more rules quite
important.

(But the above are the most important as I
find.)

You know all this as well as myself; the thing
is:

"Do you put it into practice?" — R. Morris
Williams.

Exposure and Size of Plate in Wide-angle
Photographs

In the general case of wide-angle views it is
well known that an exposure just sufficient for
the center of the plate will be altogether inade-
quate at the corners. The falling-off of the illumi-
nation at the corners is, of course, influenced very
largely by the cutting-off effect of the lens mount
when the aperture is over a certain size, therefore
for high-speed work at large aperture we need a
lens giving a fairly wide angle of full illumination.
The mount nearly always cuts off some light, but
by stopping down the aperture we can increase
the angle of full illumination very materially and
so avoid any interference by the mount up to very
large angles. In that case the uncertain effect
of the mount is eliminated, the illumination of
the plate varies according to a definite rule, and
it becomes possible to calculate the difference in
exposure required as the distance from the center
of the plate increases.

According to the rule given by Doctor
Zschakke, the light entering the emulsion at any
point on the plate is proportional to the fourth
power of the cosine of the angle of obliquity of
the light pencil, so that if this angle is 6, the
light everywhere is proportional to cos4. We can
then use this rule to determine the relative
exposures at the corners and at the center of the
plate when a sufficiently small stop is used to
make the angle of full illumination cover the
whole plate. Taking an angle of 90 degrees, for
example, with which the diagonal of the plate
must be twice the focal length, the corners require
four times the exposure necessary at the center.
With an angle of 105 degrees the corners require
seven times the exposure at the center. With
extreme wide angles this must always be the
difficulty. Hence the origin of various patent
lenses with revolving star stops, etc., designed to
cut down the light in the center of the plate. —
British Journal of Photography.

Use of a Mirror in Portraiture

There is nothing original or new in the idea of
making a photograph of a reflection in a mirror,
but it is a useful expedient that does not seem to
have been often employed. When the space
available is too small to permit the use of a long-
focus lens, by introducing a mirror a viewpoint
in effect is obtained beyond the wall of the room.
The camera and sitter may be placed close to-
gether, with the mirror facing some point between
them. The exterior focal distance is then the
sum of the distances of the mirror from camera
and sitter.

The negative naturally is a reversed one, and
is only suitable for printing direct in single-
transfer carbon, unless films are used, which can
be printed from either side. If the negative is
for enlargement, the reversal is of no consequence
as it need be merely turned around in the carrier.
By employing a lens with a slight amount of
spherical aberration a most pleasing and even
softness of definition is secured. Probably this
is due to the fusion of the main and secondary
images respectively reflected from the back and
front of the glass. It gives to the image a certain
luminosity of a somewhat similar character to

360

THE WORKROOM

a direct print from a negative made with a soft-
focus lens. The texture of the image is not
destroyed or even impaired, but there is a slight
blurring outward from the high-lights. This gives
an entirely different effect from that obtained
in a direct bromide enlargement with layers
of tulle on the projection lens, which produce
an outward blurring from the shadows. — British
Journal of Photography.

Hints on Photographing Automobiles

It is frequently desired, when an unusually
good job is turned out, to photograph automo-
biles and commercial trucks, the photographs
sometimes being destined for publication in
magazines and newspapers, but more often for
the reference files of the factory or for the sales-
man's sample case.

A few hints on photographing automobiles,
trucks, carriages and wagons, are printed below,
and it would be well, when taking a picture of
this kind, to note the points covered in this
article. The hints were written by an expert
photographer who obtains uniformly good
results in photographing motor cars.

1. The background of the automobile should
be light, so that the automobile stands out in
bold contrast. An unobstructed sky is probably
the best background obtainable, except when
the car is painted a very light color. Avoid
fences and buildings, as they conflict with the
lines of the automobile.

2. In photographing automobiles, it is best
to choose a rather dull day in order to avoid
strong shadows and "halation" or glare, from
the highly polished surfaces of the car. It is
also best to use a non-halation dry plate for this
work.

3. The photographer should carefully scruti-
nize the polished surface of the automobile to
ascertain whether there are any reflections of
the surrounding buildings, scenery, etc., on the
varnish. All of these reflections would show up
in the completed photograph. We saw, recently,
an undertaker's car, painted black and highly
varnished, which illustrated a very pretty pic-
ture of a children's playground, with the young-
sters and the paraphernalia of the playground
showing very clearly in the picture. All this
was the result of reflection which could have
been avoided by a little care.

4. The camera should be placed in such a posi-
tion as to take a correct side view of the car.
A long focus lens is the best.

5. A very important point to observe is that
the automobile should be standing on level
ground, so that the vertical lines on the auto-
mobile will appear vertical on the photograph.
Even on level ground there is a tendency for the
lines of an automobile to appear as if leaning
forward. In this case weights should be placed
in the body of the car in order to straighten the
lines on the photographer's ground-glass plate.

6. Be sure that the tires are well cleaned.
Nothing is so unpleasant in a good photograph
as the appearance of tires spattered with traces
of mud.

If the above instructions are carefully fol-
lowed and the photographer engaged is ordi-

narily competent, there is no special difficulty
in obtaining excellent photographs of any sort
of automobile, truck or horse-drawn vehicle. —
Bulletin of Photography.

Incongruous Background

One frequently sees, even nowadays when the
taste and perception of photographers generally
has so greatly increased, an incongruity between
the figure and the background. The young lady
in evening dress standing on a strip of carpet
placed on the wet seashore while the gale destroys
the shipping in the offing is a very glaring exam-
ple, not however quite unknown. Of course, a
great many of the classical backgrounds in por-
traits by the masters savor of the unreal and
absurd, but most of them are so subdued in defi-
nition and contrast that the effect is good, and
it is only when the picture is much enlarged
that the incongruity is seen. It will usually be
found that the outdoor background is more
difficult to use than the indoor one, for while a
lady may be seen indoors in practically all styles
of dress there are many in which she would not
be seen out of doors. Conservatory and terrace
pictures might admit of the use of evening cos-
tumes, but it must be remembered that the
opportunities for wearing such dresses in day-
light are practically nil, as, even if the dinner
hour is an early one, midsummer twilight has
come down before the meal is over. Another
kind of incongruity is the photographing of
people who are obviously of middle-class posi-
tion in baronial halls. It is sometimes argued
that many people want to look as though in a
better position than they really occupy, and that
we are all, in fact, snobs at heart. But if this
be so, the desired effect might be better attained
were it arranged so as to look a little more like
the truth. Making the very best of things is
quite a different matter from an obvious incon-
gruity of setting, and we think most people
nowadays prefer this form of flattery applied
delicately rather than plastered on with a
trowel.— B ritish Journal of Photography.

Imitation of Artistic Methods

From time to time a good deal is heard of the
imitation of the methods of the painter or
engraver by the photographer. Much of this
is due to a quite erroneous supposition on the
part of certain critics that a deliberate attempt
is made by the photographer to imitate the
appearance of a certain form of drawing. Nine
times out of ten the supposed similarity is quite
accidental. M. Demachy has remarked on the
peculiar beauty of a fine black, quite apart from
any form, but simply as black. So a print may
have a certain quality which is charming in
itself and also by reason of association.
Demachy himself once wrote: "For my own
part ... I shall always experience in the
contemplation of a gum print which unites cer-
tain qualities of a fine mezzotint, a quite pecu-
liar sensation of pleasure which would not be
given to me by another one which should be as
like as two peas to a lovely bromide. I am not
ashamed to own it." Here it is clear that it is
largely the quality which characterizes the

THE WORKROOM

361

mezzotint and may also characterize a gum
print which contains the charm. Since this was
written, M. Demachy has perfected the oil pro-
cess and obtained by its aid the same peculiar
quality of blacks, yet no one would suggest that his
oils are an imitation of his gum-prints. Surely
the professional worker is justified in using any
of those methods which will give quality to his
prints, if by study of examples of stipple engrav-
ing and of mezzotint he can obtain in his photo-
graphs the same gradation, range of tones, and
fine general quality. — British Journal of Photog-
raphy.

Copying and Enlarging in One Operation with a
Box Camera

Copying a photograph is usually accomplished
either by buying a special camera with a special
lens or by paying a professional to do it. Both
courses are expensive to those whose "hobby-
money" is limited.

The copying is done with a box camera at a
cost of ten cents and a little ingenuity.

A piece of ground-glass was purchased of the
standard size of the plates taken by the camera
(quarter-plate), at a cost of fourpence, and this
was fitted into the space in the camera usually
occupied by the first plate. The lens was
simply one of the focussing lenses of a five-
shilling magic lantern, temporarily fixed on to
the front of the camera by a piece of plasticine.
Having fixed the lens on to, and the ground-glass
into, the camera, the head was focussed upon the
ground-glass in the ordinary way. In the writer's
case the image was in sharp focus when the
camera was about 3| inches from the subject.
The exact position of the camera was then
marked, the ground-glass removed and a plate
inserted, the camera returned to its former
position, and the exposure made.

The exposure given must vary, of course, with
the intensity of the light; but in the particular
case in question the exposure was two minutes
indoors on a dull day. A window was on one
side at a distance of about eighteen inches from
the original, while a reflector was arranged on the
opposite side. Contrary to my expectation, the
lenses used appear to have good covering power
except at the edges; but in the case of a portrait
such as the one here reproduced, a little falling
off near the edges is unimportant.

It will readily be seen that this method may be
of much use to those who have a lantern from
which the lens can be temporarily removed.
They may have photographs which they value,
but in which the faces are rather small, and
they would like perhaps one face enlarged and
made a picture of in itself, but cannot afford
the expense of a proper camera or the cost
of having the work done by a professional
photographer.

It is possible also to enlarge to a respectable
size with a box camera photographs of small
flowers, living creatures, valuable postage stamps
and knick-knacks, which in the usual way may
be insignificant when seen on a small plate and
among a lot of others.

The method, of course, is not limited to a
camera with a single lens. A friend of the writer,

having a magazine camera with a rapid rectilinear
lens tried the objective from another lantern with
equal success. — Photography.

A Hint on Photographing Machinery

Machinery often has to be photographed
where there is a poor light, while the subject
itself has some parts shining like mirrors and
others painted a deep green, red, gray, or black.
Much can be done, says The Professional
Photographer, toward reducing the harshness by
a liberal use of a diffusing material, such as
butter muslin; but light-softness must be em-
ployed in the right way, or it will be worse than
useless. Suppose, for instance, that the machine
is in a room where there is only one small window.
If the muslin is tacked over the window it will
do little or nothing toward diffusing the light;
it will necessitate a longer exposure, but that is
about all. The muslin should be used in the
way a head screen is used in the studio; that is
to say, it should be hung up between the machine
and the window, as near the machine as possible
without letting it show in the photograph. This
arrangement allows all the light to come into the
room, and softens only that which falls directly
on the machine.

Spots and Markings on Negatives

No article of moderate length can attempt to
deal with all the defects which are possible,
many of them as the result of sheer inexperience
in handling materials like gelatin dry plates.
Such markings as mottling, due to omission to
keep the developer in movement, and others
of that kind I must leave out of consideration
here on the ground that they are defects the
cause of which is pretty well known even to
those who are comparative beginners. Also I
have no need to refer to markings such as are
rarely met with nowadays on plates, however
much of a trouble they were to workers of a
generation ago. Still, there is one of these
which perhaps I may mention in passing, since
it may arise even nowadays with those in hot
countries who are compelled to make extensive
use of the alum bath as a preventive of frilling.
I don't know to what extent the trouble is met
with by workers in the tropics with present-day
plates — I should guess very little — but years
ago one often encountered scummy, leather-
like, patchy markings arising from the use of
the alum bath between development and fixing,
and due chiefly to insufficient washing both
before and after the employment of the alum
solution. Nowadays the worker who is under
the necessity of having to harden the gelatin
film can make use of formalin in place of alum
or can employ a fixing bath containing ordinary
or chrome alum, a method which is less liable
to give rise to these markings than is the sepa-
rate use of an alum bath.

Light and Dark Bands

To pass, however, to one or two other descrip-
tions of marking. A light band extending right
across the negative is sometimes caused as the
result of a partial desensitzing action upon the

362

THE WORKROOM

plate by the material used for the hinge of the
dark-slide shutter. The effect is not likely to
arise except when plates are kept for some con-
siderable time in the slides. Where slides are
found to give a marking of this kind perhaps
the easiest thing to do is to paint the material of
the hinge with a little solution of potass per-
manganate, afterward leaving the slides with
the hinges fully exposed to broad daylight for a
day or two.

Another cause of a light band occurring along
one edge of a plate is slight reduction by hypo in
the presence of air. Perhaps some beginner
has made the same blunder which I can recollect
having made myself in the first year or so of
having taken up photography. I recollect
bringing back a batch of plates from a holiday,
developing them carefully, and then, on remov-
ing them from the fixing bath, standing them in
a grooved washing tank with about 1 inch of each
plate above the surface. I remember my dismay
at finding that the portion of each plate thus
projecting had become reduced by several tones
in comparison with that in the water. It was a
silly blunder, for even if the plates had been
well rinsed under the tap immediately on taking
them out of the hypo they would probably have
suffered no harm. But it must be remembered
that hypo solution left in the film of a negative
and the latter exposed to the air exerts a quite
decided reducing action.

As regards dark bands across a plate, these
again may arise from material of the shutter
hinge, exerting a fogging instead of a desensitizing
action upon the plate. This perhaps is the
most likely cause of a band of fog on the plate
apart from those arising from gross carelessness
in, for example, withdrawing a slide from the
camera with the shutter not completely thrust
home.

Dark Outline Marks and Streamers

Following the more widespread use of tanks
for development, a curious kind of marking is
liable to occur in negatives. It takes the form
(in the negative) of a dark line, which appears
only where dark objects, such as a row of houses
or masses of foliage, occur against a bright sky.
This dark line roughly follows the outline of
the dark part of the subject, producing an
unsightly white-edging effect in the print.
Briefly, the cause is stagnation of the developer
during the period of development. The portion
of the developer in contact with the sky part of
the negative becomes exhausted, while that in
contact with the dark part of the subject is but
little reduced in energy, and, diffusing toward
the sky portion of the plate, produces additional
density along the line which forms the frontier
between the two areas. Thus the effect is
much more likely to occur in tank development,
for the reasons, first, that usually a much weaker
developer is employed and, secondly, there is
more liability to leave plates to themselves in a
tank than when a dish is used for development.
The latter, of course, should not be the case, and
a rule should be made in tank development to
provide for the constant, or at any rate the
frequent, movement of the solution. This is
most conveniently done by having the develop-

ing tank water-tight and turning it first one way
up and then the other every two or three minutes
during the period of development.

Streamer markings have their origin in a
similar cause. They arise chiefly in subjects
where some dark object, such as a chimney or
a telegraph pole, occurs. The developer over
this area has comparatively little to do, with
the result that, as the outcome of the vertical
position of the plate, its effect passes by diffu-
sion to the portion of the film immediately below
it, the action running downward in "streamer"
fashion. Here, again, the effect is altogether
obviated by constant movement of the developer,
while it is less liable to occur with developing
solutions of full strength than with those con-
siderably diluted with water.

Reticulation Markings

The curious markings which are occasionally
produced by the use of the mercury-ammonia
intensifier were, I see, the subject of a query
from a reader last week. It is quite true that
this intensifier seems particularly liable to pro-
duce this kind of marking; nevertheless, it has
really nothing to do essentially with the use of
either mercury or ammonia, but is the result
of strain set up in the gelatin film. No doubt
the great tanning action of solution of bichloride
of mercury upon gelatin is a contributory cause
to the production of this effect, but it is com-
paratively easy to get reticulation intentionally
simply by subjecting a plate to a sharp and
considerable difference of temperature. As was
recently shown by Mr. Olaf Bloch, in a very
interesting paper before the Royal Photographic
Society, the removal of an ordinary unexposed
but fixed plate from wash water at 60° to water
at 90° F. will cause characteristic reticulation
over the whole surface, probably no less intense
than that which sometimes arises in the use of
the mercury intensifier, since the apparent effect
is magnified by the greater density of the inten-
sified plate.

Dark Tangle Markings

Lastly, I may come to one very mysterious
looking marking, the cause of which, however,
is exceedingly simple. A tangle of narrow
wavy dark bands, which sometimes may extend
all over the plate, is caused by a pin-hole some-
where in the camera body, e. g., in the bellows
or in some part of the rigid or flexible walls of
the camera. If the plate or film remains uncov-
ered by a shutter and the camera be at the same
time carried about in direct sunlight, the pin-
hole actually forms a succession of images of the
sun upon the sensitive surface, the successive
movements of the camera causing these separate
images to run into curved bands. The remedy,
of course, is obvious. — British Journal of Photog-
raphy.

Silver and Its Recovery

I am taking for my text this month "The
Criminal Waste of Silver." It is worth deep
contemplation by all concerned in the industry,

THE WORKROOM

363

especially at the present time, when economy
is one of the chief aims in life and work.

It will be advisable to deal broadly with the
subject of silver, since the phenomena connected
with it and its photographic powers are remark-
able and really unique.

Silver nitrate is a compound produced by
dissolving the metal in nitric acid, which the
engraver also calls aquafortis. It is a translucent,
very soluble, white salt, and is widely used to
impregnate the gelatinous films of photographic
plates. It is the starting point for the manu-
facture of all the other compounds and salts
employed in the preparation of various materials
— the chloride, bromide, iodide, etc.

The art of photography is based upon the
peculiar and inexplicable fact that the silver
salts just named darken on exposure to the light.
I am not going to attempt to explain ivJiy this
is so; because no one has yet succeeded in
proving any theory in respect thereof. We must
take the matter as it stands. Upon allowing a
drop of the solution of silver nitrate to evapo-
rate— preferably on glass — nominally the salt
crystallizes in rhombic tables; but on the small
scale all kinds of pretty formations occur,
presumably owing to some interference beyond
our discernment.

The reader knows that if a P.O. P. is laid in
the light it gradually becomes violet, and then
darkens with a brownish tinge. An interesting
experiment can be made by cutting such a paper
into small pieces, while still white, and placing
them in a jar of water standing on a table near
a window. Very soon the whole solution, and
not only the paper will become colored, thereby
establishing the excessive sensitiveness of the
chloride to light.

Silver chloride — a very important darkening
salt — cannot be prepared directly from the metal ;
but has to be derived from one of its solutions,
such as silver nitrate. When any soluble chloride
of other formation — for instance, either chloride
of sodium, cadmium, ammonia, or zinc — is
added to a solution of silver nitrate, a milky-
white precipitate of silver chloride is instantly
produced. A similar result occurs by combining
hydrochloric acid with the silver nitrate solu-
tion. A chloride — whatever its nature — always
consists of a compound of chlorine and a base
such as soda, zinc, and so on. Upon bringing
any chloride of a suitable character into contact
with silver nitrate solution the silver attracts
the chlorine and becomes silver chloride, the
nitric acid being released to join up with the sub-
stance previously in association with the added
chloride.

The same result is engendered by placing
hydrochloric acid in silver nitrate solution;
the chlorine combining with the silver to com-
pose silver chloride.

I dare say that the reiteration of these names
will prove somewhat tedious; but it cannot be
avoided if understanding of the subject is to
follow. Silver chloride is also called horn silver.
To the naked eye it is filmy, flocculent, or
powdery, and (as I have already said) milk-
white; but when examined under the microscope
with reflected light it appears pale brownish and
resembles flakes of horn, this condition probably

being responsible for the name already given.
It is a very insoluble substance, and on this
fact depends the success of a chemical test,
detailed elsewhere, which is often employed in
industrial quarters.

If we have an exceedingly weak solution
of silver nitrate and add the merest speck of
any soluble chloride— say a crystal of table salt,
which is sodium chloride — thereto, the insoluble
milky whiteness will soon be strikingly produced.
This test will reveal silver in a solution in which
the proportion of metal to fluid is as one to a
million.

Upon observing the formation of silver
chloride through the microscope we find that
it is never crystalline; but begins as a folded
and wrinkled film which elongates into curling
fibrous arrangements, among them being myriads
of the tiniest specks possible. There is a con-
tinual modification of these details, until the
whole of them amalgamate homogeneously
together.

Silver bromide is made by adding any soluble
bromide to a solution of silver nitrate. In like
manner, silver iodide is made by adding any
soluble iodide to a solution of silver nitrate.

It is curious that silver chloride, etc., will
not darken in a vacuum to which light has access,
even after several months' exposure. This
fact proves that the atmospheric gases constitute
a necessary medium through which the light
can act. It seems that the light itself, apart from
air, is inoperative.

In the article published in the March number,
great stress is laid on the advisability of recover-
ing the silver from used-up solutions. It does
not matter what they are, provided they are
compounds or salts of silver, the metal can be
extracted therefrom by suitable means. People
concerned with the matter do not sufficiently
realize that although a substance looks like a
lump of sugar, or a fine white powder, or a mere
solution, it contains the actual precious metal
disguised by chemical combination, and remov-
able therefrom in all its lustrous freshness by
simple processes.

It certainly does seem inexcusable to pour
silver solutions into the drains, unless their
quantity is very small and insignificant. In
the engraving business the subject is worthy
of fully consideration.

It was pointed out in the article named that
a silver powder can be deposited from a cyanide
solution of the metal by means of zinc or copper.
But no clue was given to the beautiful micro-
scopical side of the matter, so I propose to step
in here with particulars. Quite similar results
are procurable from silver nitrate solution,
without the risk of the observer being poisoned
by the gas cyanogen, as would be the case
when closely examining cyanide solution.

You merely lay some solution of silver nitrate
on a piece of glass, and then immerse in it a
scrap of zinc or copper — wire will do. Magnify
it meantime, and watch intently. Instantly,
particles of actual silver are mysteriously
removed, springing from the added metal in the
form of ferny tufts. You see first the raw edge
of the added metal, and immediately leaflets
emerge, as it were, therefrom, and rapidly

364

THE WORKROOM

"grow" to dense miniature bushes. This
material is actual silver, and can be filtered off,
washed, and melted into a single piece. The
contents of each of the magnified illustrations
were in original only l-24th inch in diameter. —
Process Monthly.

Lumiere is adopted, taking the time of first
appearance of the image is greatly facilitated,
as also are the subsequent operations. — Amateur
Photographer.

The Metronome in the Dark-room

The metronome, used by students of music
for beating any required measure at will, is an
instrument which can be of such service to
photographers that a note on its use may be of
interest. In practical use the writer has found
it to be superior even to specially constructed
dark-room clocks, principally on account of its
advantage of registering each second by a loud
"tick," thus leaving the hands and eyes of the
operator perfectly free for the work in progress,
while the duration of exposure, development,
etc., can be accurately counted. It may here
be observed that for all photographic work the
metronome indicator should be set at the figure
60, when seconds will be ticked with the necessary
precision. To begin with, amateurs who go in
for enlarging to any extent — and their name is
legion — will admit that there are few negatives
not calling for some form of shading during the
time of exposure of the enlargement either to
prevent a shadow from becoming too opaque or
for some other modification. It is obviously
impossible to keep the eye simultaneously on
the clock or watch and on the shading operation,
while it is not everyone who can, unaided,
count seconds with accuracy. It is here that one
of the chief uses of the metronome comes in,
since it can be set to tick off seconds with
certainty, thus leaving the hands free for the
manipulation of the lens cap and the work of
shading the print, the eyes being also freed from
the clock to follow the progress of this operation.
Moreover, the time of shading and the total
time of exposure, once found, may be recorded
on the margin of the negative for future refer-
ence. Again, should it be of importance to make
a number of prints or enlargements from the
same negative, and to secure results as uniform
as possible, if the metronome is used during the
time of exposure and development, not only is
exactitude in exposure assured, but each print
can be developed for the same length of time,
with the effect of securing results of absolute
uniformity, providing that the developer is not
overworked. This will be found invaluable in
postcard printing and the making of portrait
enlargements from small negatives. For the
development of autochrome or other color
plates the advantages of the instrument are
obvious, since, if development is done blindly
for the full two and half minutes, the plate need
not be exposed to the dark-room light for one
moment of the time until the acid permanganate
(in the case of autochromes) has been poured on
and all is safe; while if the system of tentative
development now recommended by Messrs.

Copies of any patent can be obtained from the
Commissioner of Patents, Washington, D. C.
Price, five cents each.

M. P. Film. W. M. Grosvenor. 1226655.

M. P. Apparatus. F. W. Hochstetter. 1227138

M. P. Device. M. Segel. 1227081.

M. P. Apparatus. C. B. Rowntree. 1227075.

Camera. A. D. Rochau. 1228051.

Camera. T. Tamura. 1227692.

Camera Device. A. A. Ruttan & C. E. Hutch-

ings. 1227675.
M. P. Camera. C. Spiro. 1228255.
Camera Device. M. J. Barnett. 1227991.
Film Feed. H. M. Conner & D. D. Miles.

1227887
M. P. Device. H. M. Conner & D. D. Miles.

1227886.
X-ray Tube. E. W. Caldwell. 1227884.
Color Cinematography. P. D. Brewster.

1228877.
Film Binder. J. L. Ritchie & G. L. Vaste.

1229139.
Photographic Apparatus. W. Verbeck. 1228722.
Printing Machine. T. E. Halldorson. 1228912.
Paper and Transfer Process. F. W. Kent.

1228680.
Photo and Type Printing Machine. C. Kesses.

1228784.
Film Camera. O. Callaway & G. R. Helsley.

1229882.
Cinematograph. A. R. Selden. 1229329.
Cinematograph. V. W. Thomas. 1229673.
Developing Apparatus. J. S. Greene. 1229945.
M. P. Camera. J. A. Golden. 1230576.
Camera Shutter. R. Matthews. 1230500.
Camera Shutter. R. Matthews. 1230501.
Developing Apparatus. G. C. Beidler.

1230096.
Photographic Apparatus. H. J. Gaisman.

1230399.
Printing Device. E. C. Sterling. 1230532.
Printing Machine. W. F. Folmer. 1230392.
Coloring M. P. Film. C. W. Mable. 1230744.
M. P. Film Cleaner. H. M. Colbyson & A. S.

Dworskv. 1230120.
M. P. Device. H. E. Watson. 1230251.
M. P. Device. H. S. Morton. 1230201.
Film Controlling Device. A. S. Holwell. 1231360.

5 CENTS A COPY

$1'50AYEAR «

THE PHOTOGRAPHIC
JOURNAL OF AMERICA

VOLUME LIV

SEPTEMBER, 1917

tr^p P (r\(r)fr)F'

HAS THE QUALITY CIRCULATION
OF THE PROFESSION

[HE OLDEST PHOTOGRAPHIC MAGAZINE IN AMERICA

In 1909 it was stated of

Cyko Paper

"Each grade of Cyko has more latitude,
plasticity, chromatic rendition and proper
scale of gradation than any other paper.
Its scope is unlimited"

and yet its scope has been enlarged
every year since, so that in 19 17 it

CYKO is the single and universal expression
of photography today

Ansco Company

Binghamton, N. Y.

'THE HEAD OF ACHILLES'

BY JANE REECE
DAYTON, OHIO
PITTSBURGH SALON. 1917

PHOTOGRAPHIC
•JOURNAL-
'S'' AMERICA •

VOLUME LIV

SEPTEMBER, 1917

NUMBER 9

NOTES ON ARCHITECTURAL PHOTOGRAPHY

By HENRY C. DELERY

A BRANCH of architectural photog-
raphy in which the photographer
has ample opportunity to display
his ability is the reproducing of monu-
ments, statuary, and the like. As in
this class of work one is not very much
restricted as to space, a long-focus lens
should be used, and a point of sight
obtained at a sufficient height to give
pleasing perspective.

For statuary or small monuments a
point of sight at an ordinary distance will
suffice ; for statues on high pedestals the
camera should be placed at a remote dis-
tance from the object. The surround-
ings should receive special notice, even
more so than with the usual architectural
subject, and everything that can excite
interest in the picture brought into view.
The background in particular must be
suited to the subject — e.g., white stat-
uary, when photographed in the open air,
should never have a clear sky as a back-
ground, while, on the other hand, bronzes
and dark subjects require a background

which has a brighter hue. In fine, to
properly photograph monuments and
statuary we must give the subject all
the care and study which the portrait
photographer bestows on his sitter.

Experience shows that for this char-
acter of work the best results are ob-
tained in cloudy weather, when the rays
of the sun are partly obscured, or even in
the shade. By making the exposure in
subdued sunlight, not only is the model-
ing and rounding of the subject rendered
a better, but greater softness and delicacy
of detail are secured. If the subject be a
piece of statuary, and we attempt to
photograph it under the unobstructed
rays of the sun, the shadows cast under
the eyes, nose, and chin will be very
harsh, and the delicate modelling of the
picture will be lacking.

Another important branch of architec-
tural work is the reproducing of struc-
tural details of buildings, and such other
work as may be required for the actual
execution of the building itself. A build-

(365)

366

NOTES ON ARCHITECTURAL PHOTOGRAPHY

ing may have to be altered or repaired,
and a photograph demanded to show the
exact existing conditions.

In a case of this character it is best to
reproduce the building on a scale, in order
that the draughtsman may be able to ob-
tain his proportions and dimensions to
lay out his drawing.

A position is taken directly in front of
the building and as far removed as is pos-
sible, in order to reduce the perspective
to a minimum. A batten, say about two
inches wide and ten feet long, having
each foot-space marked in plain figures,
is set on the wall of the building. This
will serve as a future guide to the
draughtsman when scaling the photo-
graph, and will also be the means by
which the photographer will establish his
scale when focusing the picture. The
camera is set up, and, by applying a
draughtsman's scale on the ground-glass,
after shifting the camera to its proper
position, dimensions corresponding to
those marked on the building will be ob-
tained on the scale. In other words, if
the foot-marks on the batten measure
one-eighth of an inch on the ground-glass
of the camera the photograph will then
be on a scale of one-eighth inch to the
foot.

This method is also commendable
when photographing manufacturers' de-
tails, such as panels, ornaments, mold-
ings, caps of columns, etc., which are sent
out as samples. The principal feature
in this class of work is to avoid all per-
spective, in order that the photographs
may be scaled accurately.

Still another important task for the
architectural photographer is making a
record of an edifice as its construction
progresses.

In this instance a truthful repre-
sentation of the building is absolute,
and still further steps must be taken to
verify the truthfulness of the reproduc-
tion, as photographs of this nature may
be used to settle contentions in the
courts.

If the photographer is required to
follow the history of the building from
its conception to its completion, the first
step should be to photograph the con-
dition of the adjoining bulidings, which,
from various causes, may be in bad

condition, such as cracked or decayed
masonry, walls out of perpendicular, and
the like, and which, if not photographed
previous to the demolishing of the build-
ing, may involve the owner or the archi-
tect in serious trouble. For a wall which
is out of perpendicular the camera is set
up with its swing-back absolutely plumb ;
on the building itself a plumb-line is
dropped from the top of the wall and
held free against the batten with foot
dimensions marked on it; in this manner
the distance from which the wall is out
of perpendicular is plainly visible and
cannot be disputed. It is also well for
the photographer to have his notebook
at hand and record all data which may
be of importance.

When the time of erection begins a
weekly photograph should be taken of
the premises, and, if the building be a
time contract, the date should be plainly
marked on a sign which is included in the
view. This will save considerable con-
tention at a later date and make the
photograph convincing in itself. For a
high structure it is well to mark the num-
ber of the floor on the date sign. When
the structure is finally completed the
architect has a record of his building
which may be of inestimable value for
future reference.

Architectural drawings may have to be
copied, and here the architectural pho-
tographer enters a new field. Perfect
accuracy must again mark his work. We
will first study the drawings. These are
often made on rough-surface paper, and
it is desirable when setting them up that
the light should strike the paper from
all directions, thereby doing away with
shadows, and, to a great extent, prevent-
ing the rough grain of the paper from
showing. As the designs and plans pre-
pared by architects are drawn to a scale,
it is well when reproducing them to see
that the scale-unit is preserved, and, if
possible, to reduce to some convenient
scale generally employed by architects.
If there be no scale marked on the plans
a line should be drawn with inch-marks
and foot-marks figured upon it, so that
the draughtsman can, if necessary,
decipher the drawings.

For general outdoor work on com-
mercial buildings I have found the ordi-

ORTHOCHROMATIC PLATES AND LIGHT FILTERS

367

nary unorthochromatic plate quite cap-
able of giving good results, and for this
work would recommend a fast plate
which will enable us to photograph even
non-actinic buildings instantaneously on
crowded thoroughfares. Naturally the
latitude in exposure is greatly reduced,
but one soon accustoms himself to the
speed of his plate, so that exposure
soon becomes of secondary importance.
Another advantage of the fast plate is
that it permits of the use of a very small
diaphragm — an item of considerable im-
portance in architectural work, where a

great amount of detail and clearness is
always required.

For a higher class of work where color
and tone effects are desired, the ortho-
chromatic plate is advised. The prin-
cipal benefit derived from its use besides
the true rendering of color luminosities,
is a more brilliant negative with better
detail and a clearer rendering of distance.
For monuments and similar views, where
the natural scenery or a sky silhouetted
with clouds is intended to embellish the
picture, an orthochromatic plate is
indispensable.

ORTHOCHROMATIC PLATES AND LIGHT

FILTERS

FOR all-round photographic work a
complete color correction is gener-
ally regarded as impracticable. It
necessitates the use of a deep color screen
which prolongs the exposure consider-
ably, and of red-sensitive plates which
can only be handled in complete darkness
or in a light that is very little removed
therefrom. The consequence is that
non-orthochromatic plates are still used
for the many purposes for which they
are quite suitable, though a great deal
of amateur photography is done with
orthochromatic emulsions. When we
remember that practically all the roll film
made is orthochromatic, and that ortho-
chromatic plates of various brands enjoy
a great popularity, there can be little
doubt that, as far as the amateur is
concerned, more exposures are made on
color-sensitive plates and films than on
those which do not possess that quality.
If such plates (and in what follows the
word plates is used as including films)
are exposed without a light filter of some
kind, very little is gained. It would re-
quire an expert to pick out of a number
of negatives those which had been taken
on ordinary and those on orthochromatic;
and even the expert might be puzzled or
wrong. To understand this, it is neces-
sary to consider the fault for which ortho-
chromatism is a remedy.

The light to which our eyes are most
sensitive is yellow and yellowish green;
they are less sensitive to bright red and
to blue, and much less so to deep red
and to violet. Therefore, a patch of the
most intense violet-blue that could be
got, seen on a background of equally in-
tense yellow, would form a contrast of a
powerful character, the violet appearing
dark on a bright ground.

As every photographer knows, this is
not at all parallel with the result on an
ordinary plate. To the yellow and yel-
lowish green it is almost blind, to blue it
is very sensitive, to violet also it is sensi-
tive, and there are other rays, which the
human eye cannot perceive at all, which
affect the plate powerfully. These rays
are called the "ultra-violet." To red
light, also, the plate is insensitive, so
that light of this color can be used to
illuminate a dark-room. The expression
"illuminate a dark-room " is not quite the
bull it seems. A "dark-room" must be
dark to the sensitive materials that are to
be manipulated in it; provided this is so,
it cannot be too light to the eyes.

Orthochromatic plates are coated with
an emulsion which, by means of certain
dyes, has been made more sensitive to
green, yellow, and sometimes to red, than
before. But although this is the case,
these dyes are not able to give to the

368

ORTHOCHROMATIC PLATES AND LIGHT FILTERS

emulsion the same sensitiveness as the
eyes possess. It is still very much more
sensitive to blue as compared with yel-
low; in fact, the difference is still so great
that the advantage of the dyes is almost
entirely hidden, as has been already men-
tioned. It is to remedy this state of
things that a light filter or color screen is
used.

The fact is sometimes overlooked that
the photographer has a very useful color
screen in the lens itself. Glass is com-
paratively opaque to the ultra-violet rays
just referred to, so that they do not play
so large a part in photography as they
would do, for example, if our lenses were
made of quartz, which is much more
transparent to them. The atmosphere
also absorbs a great deal of the ultra-
violet light which reaches it from the sun.

In order to make the photograph show
colored objects in the same strength of
light and shade as the eye sees them, a
plate must be used which is sensitive to
light of all the colors to which the eye is
sensitive; and we must also interpose in
the path of the light a light filter which
will absorb ultra-violet, violet, and blue
rays to such an extent that the excess of
sensitiveness to such light which is pos-
sessed by the orthochromatic plate is
counterbalanced.

It might be supposed at first that all
that need be done would be to adjust the
light filter to the plate so that their com-
bined action was to get exactly and al-
ways the same effect as is seen by the
eyes. But while this is perfectly pos-
sible, and indeed work with such a com-
bination is done daily, it is open to the
objection that the plates can only be used
in darkness, or almost darkness; while
the light filter prolongs the exposure
necessary to such an extent as to make
hand camera work, except under the
most favorable conditions, very difficult.
So that, in ordinary everyday photog-
raphy, it is usual to resort to a com-
promise.

Orthochromatic, or isochromatic,
plates have their sensitiveness to green
and yellow increased very much, but are
still only slightly sensitive to red. With
such materials, therefore, we can use a
fairly bright red light in the dark-room,
provided it is the right sort of red — that

is to say, a deep ruby and not an orange.
Plates that are sensitive to red as well
are called "panchromatic." We see,
then, that the light filter used with
orthochromatic plates is not one which
makes the rendering absolutely accurate,
but one which gives a perceptible im-
provement without causing too great an
increase in the exposure.

The question we have to determine,
therefore, is how far to carry the com-
promise, and it is evident that this will
depend on the nature of the work to be
done. The writer cannot refrain from
putting on record his opinion that, for
every photographer (except the mere be-
ginner) where the prolongation of the ex-
posure is not a serious matter, and other
circumstances do not offer difficulties, the
best result is to be obtained with a pan-
chromatic plate and a color screen deep
enough and of the right tint to make the
correction complete: the compromise of
the orthochromatic plate and not very
deep light filter is only fully justifiable
when there is a necessity for it. No one
who has learned to use panchromatics
for landscape work, for example, is ever
likely to go back to other material.

Self-screen Plates

In the "self-screen" plate we have an
orthochromatic emulsion which has been
dyed so as to act to some extent as its
own light filter. The consequence is, it is
impossible to make such plates as rapid
as the simpler orthochromatic plates,
since any light filter to act at all must
cut some of the light and, if it does that,
must necessitate a longer exposure. If
the light filter is in the emulsion, this
is equivalent to making that emulsion
slower. Self-screen plates are therefore
not among the fastest, but the dyeing is
not carried very far. Probably they are
about half as fast as they would be did
they not contain the screen dye, so that
they are still quite fast enough for all
ordinary purposes. They can be used in
the hand camera, and generally for work
for which the very utmost possible degree
of sensitiveness is not an essential.

But a light filter which does not pro-
long the exposure more than twice, al-
though better than nothing, is still very

ORTHOCHROMATIC PLATES AND LIGHT FILTERS

369

far from giving as full a correction as we
are often glad to have; and so it comes
about that separate light filters, which
can be put on the lens for use as required,
are largely employed by photographers.
They are not of any practical value with
non-orthochromatic plates, as they in-
crease the exposure to an inconvenient
extent; but they can be used with ad-
vantage either with the ordinary kinds of
orthochromatic plates or with self-screen
plates.

It is customary to describe these light
filters as ' ' three times, ' ' ' ' five times, ' ' and
so on, according to the effect which they
are supposed to have upon the exposure.
We write "supposed to have" because
the classification is only a very rough one ;
it may serve to indicate to which groups
a filter belongs, but is not by any means
a reliable guide for exposure.

When a light filter has been bought,
one of the very first things which should
be done is to find out what increased
exposure it entails in ordinary circum-
stances; that is to say, with daylight
during the greater part of the day. To-
ward evening when the light is more
yellow, and by artificial light when it is
very much more yellow, the exposure in-
crease necessitated by the filter is very
much less; so much so, as far as artificial
light is concerned, that it is not usual to
employ a filter with it at all; the light is
yellow enough, that is to say, it is com-
paratively poor enough in blue or violet,
not to require it.

Although the orthochromatic plates of
different makers are not quite alike in
their color sensitiveness, they resemble
each other nearly enough for the same
color screen to be used with them indis-
criminately. If the photographer uses
self-screen plates he will find that a color
screen, which is, say, a five times screen
with orthochromatic plates that do not
embody any light filter, does not call for
quite so great an increase as that. The
difference, however, is a very slight one,
and the actual increase should be found
by trial.

It has been the writer's frequent ex-
perience that the increased exposure re-
quired is generally under-estimated by
the maker or seller of the screen. Seven
or eight times is the increase generally

entailed by a "five-times" screen, if full
advantage is to be taken of it. It is a
curious fact that if the negative is in the
least under-exposed the screen does not
seem to exercise its full effect.

The Most Useful Color Screens

For work with self-screen plates a five
or even a ten times filter is the most use-
ful, as giving the most complete cor-
rection. For general work, of course,
the plates will be used without any other
screen than that which has been incorpo-
rated with them, but when this is not
sufficient, then, within reason, the deeper
the screen that is used with them the
better.

With those orthochromatic plates
which are not provided with any screen
in the emulsion itself, and with roll film,
it will be found that a two- or three-times
screen is often very helpful. It will en-
able the cloud forms to be got on a land-
scape negative with full printing value,
and at the same time it does not make
the exposure so long as to put hand
camera work quite out of the question.
It should be supplemented by one which
calls for twice or three times as much in-
crease, for work where correction is more
important than keeping the exposure
short.

Using Two Screens at Once

It has been suggested that when a deep
screen is needed, one weak one may be
superposed on another, or a weak and
a strong one used together. There is
generally nothing to be gained by this,
since the strong filter cuts out what the
weak one cuts out and something besides.
That this is so can be seen by holding
one partly over the other : the two screens
together, if their color is the same, and
they only differ in depth, will not appear
appreciably denser than the deeper
screen by itself.

So far from a ' ' six times ' ' and a ' ' three
times" screen requiring nine times the
exposure when the two are used together,
the writer found by actual trial that the
two screens combined did not call for an
exposure appreciably longer than was
needed by the "six times" screen used by

370

THE CHOICE OF A LENS

itself. And if the exposure necessary is
not longer, it is evident that the screen
cannot be serving any useful purpose.
On the other hand, the use of two
separate filters, with the thick glasses of
which they are composed, is likely to
affect the definition prejudicially.

When we come to the use of panchro-
matic plates, the screens used are almost
sure to belong to the "K" series made
by Eastman. These are made in three
depths, known respectively as Kl, K2,
and K3, and, although they are primarily
designed for use with the panchromatic
plates, they are quite suitable for ortho-
chromatic plates of any kind. The Kl
screen, used with an orthochromatic
plate, may be regarded as about a
"three times" screen, and the K2 a "ten
times." With the panchromatic the Kl
increases the exposure something less
than twice, the K2 about four times, and
the K3 about six times; but the actual
figures of the increase required by each
batch of emulsion are given in the box
with the plates, so that accurate work
can be done at once without any need for
experimenting.

With these plates the K3 gives a render-
ing which is approximately correct, and
therefore should be used whenever cir-
cumstances permit. The K2 is inter-
mediate, and is suggested as being suit-
able for portraiture, where, to avoid the
necessity for retouching, the color cor-
rection must be as complete as possible,
though at the same time long exposures
cannot usually be given. The booklet
Real Orthochromatism, published by the
Eastman Kodak Company, will be found
to be a good supplement to this article,
as it goes into the subject in a more ad-

vanced manner than can be done here,
and contains much that is of interest on
orthochromatic work, whether the reader
is a user of the Wratten productions or
not.

Over-correction Highly Improbable

It is sometimes said that the use of
color screen is carried to the extent of
over-correcting the rendering; but, except
with experimental home-made screens,
this is hardly likely. None of the com-
mercial screens, unless deliberately made
for that purpose, will over-correct; in
fact, with the exception of the K3 and one
or two special kinds, none of them correct
fully. Photographers are so accustomed
to an incorrect rendering of colors that
they are apt to regard any approach to
truth as an exaggeration, while the disap-
pearance of color contrasts in a correct
rendering may easily suggest that the
orthochromatism has been overdone. It
may be overdone from the point of view
of the impression required, but it may
none the less be a perfectly correct mono-
chrome rendering of the subject.

Inasmuch as orthochromatic work on
the whole must be better than non-
orthochromatic, by eliminating a defect
inherent in the ordinary emulsion, one
cannot but wish to increase the number
of photographers who follow it. The
hope of doing a little toward this end
has been the cause of this article being
written, and if the writer has at times
appeared to be teaching his photographic
grandmothers to suck eggs, he asks these
experts to forgive his presumption for the
sake of the cause which he is advocating.
— George Bassett, in Photography.

THE CHOICE OF A LENS— "ANASTIGMAT"

SO many misstatements and foolish
questions occur from time to time
that the following notes are written
in the hope of clearing up some of the,
apparently, obscure points about this
most essential part of a photographer's
equipment. When the tyro applies to

a firm of manufacurers for a catalog,
he gets such a lengthy list of lenses of
various apertures and different con-
structions that he may well be puzzled.
There are three heads under which a
lens may be considered: its focal length,
its aperture, and its construction; and

THE CHOICE OF A LENS

371

these again are interrelated. The field
of view is determined by the focal length
on a given size of plate.

This plate size we will consider fixed.
The first thing will then be to choose a
focal length to include a given angle of
view. If architecture and interiors will
be the chief aim, a wide-angle lens is
wanted — i. e., a short-focus lens, three
inches on a quarter-plate, and four-
and-a-half inches on a half-plate. For
ordinary work a five-and-a-half-inch lens
gives most pleasing results on a quarter-
plate, and an eight-inch on a half-plate.
For portraiture a longer focus is desirable
— seven or eleven inches respectively.
It will be seen from the table that the
angle of view diminishes as the focal
length increases, and the smaller the
angle of view the flatter the picture.
Hence the reason for the above recom-
mendations.

ABLE

I. — Angle of View

Focal
length,

Size of
plate,

Anmle of
view.

inches.

degrees.

41 x 3J quarter plate

H x 3|

4| x 3J

6^ x 4f half plate

6^x4f

6h x 4f

When considering the aperture to
choose, one must be governed by the
extent of one's pocket a good deal, for
the price of a lens increases as its rapidity,
caeteris paribus. For architectural work
large aperture is not a necessity, though
it is a convenience for focussing. Indeed ,
large aperture is inconsistent with large
angle ; /8 is generally fast enough, though
lenses are made as rapid as /6.5. For
ordinary work /6.5 is rapid enough for
snaphsots in bright weather, though if
short exposures are to be made all the
year round, /4.5 is a desideratum.
Indeed, press workers will do well to
take an f3.5 lens, so as to be prepared
for all conditions of weather. For the
studio, also, a lens cannot be too fast.
The only doubt that an amateur can
have is, then, whether he should use an
/6.5 or /4.5. Is the increased rapidity
worth the extra expense?

We propose then to consider the ad-
vantages and disadvantages of an f4.5
lens. First of all, it has less depth of

focus than the/6.5, though by stopping
down this can always be remedied. It
must not be forgotten, however, that
diffusion of the background is some-
times an advantage. Another drawback
is the necessity for extra care in focus-
sing the more rapid lens, a small move-
ment of the focussing screen rapidly
blurring out the image. Again, as I
said above, aperture and field of view
are opposed to one another; i. e., the
lens of larger aperture will not have the
same covering power as the slower lens.
The designer of the lens had, above all,
to consider the question of aperture,
and choose the forms of his lenses
accordingly. Moreover, the large aper-
ture demands very careful correction
of aberrations, and this cannot be
obtained over a very large field. It
should not then be expected that the
/4.5 lens will give good definition beyond
the corners of the plate; per contra, the
/6.5 lens should, and therefore allow for
a reasonable rise of front. If, therefore,
the rising front is much used, the /6.5
lens had better be chosen.

Again, with regard to illumination.
Here the /4.5 scores. If one looks
through a lens and turns it sideways, it
will be seen that the aperture appears
smaller and smaller, till it finally
vanishes. This means that the illumina-
tion on the plate falls off as one proceeds
from the center to the edges. Really
the lens only works at its full aperture
in the middle of the plate. The greater
the circle of illumination of the lens, the
more light there will be getting to the
corners of the plate. Hence, the lens
should cover at least one size larger
plate than it is used for, i. e., a quarter-
plate lens should illuminate a half-plate,
and so on.

Table II. — Choice of Lens

t'se of lens.

Aperture.

Portraiture . . /3 to /4
Focal-plane and

snapshot . . /4.5 50

Universal f 6 . 5 60

Wide-angle . . /6.5 to/8 80

<
50

60
80
90

5*
5|
3

372

THE CHOICE OF A LENS

The inequality of illumination can be
remedied by stopping down. The point
to which it is necessary to stop down
may be determined by removing the
ground-glass screen, and finding what
aperture of the iris can be completely
seen all over the plate. It will be found
that the smaller the illuminating power
of the lens, the smaller must be the
aperture to obtain equality of illumina-
tion. Hence, it will be seen if it is
required to work with a given aperture
and secure correct exposure all over the
plate, the lens must be of considerably
larger aperture.

The necessity of stopping down may
be avoided to some extent by increas-
ing the focal length of the lens, for this
means a greater circle of illumination.
This is another reason why it is desirable
to have a long-focus lens for protrait
work at a large aperture.

It is then not absurd, as some people
think, to buy a lens of large aperture
and work with it stopped down. In
fact, the extreme aperture should only
be regarded as a last resource attended
with such disadvantages as vignetting,
requiring greater accuracy in focus-
sing, and giving less depth of focus. It
must also be remembered that, however
good a lens is, its definition is improved
by stopping down. This may not be
obvious to the eye, but can be readily
seen on a negative containing fine detail
if examined with a magnifier or in
enlarging. It may be stated generally
that the larger the aperture of the lens
the less perfect the definition will be.
A little in the way of crispness has to be
sacrificed to obtain the extra speed.

There remains the consideration of the
construction. Roughly, lenses may be
divided into two classes, those consisting
of three or more separated lenses and
those of two more or less symmetrical
cemented combinations of two to five
lenses each. These latter, in the case of
three or more lenses in each half are
called " convertible, " inasmuch as the
single components can be used separately.
Generally, this convertibility is of a
makeshift type, the single lens being only

useful at small apertures. There are,
however, some true convertibles — which
are extremely expensive. The use of
supplementary lenses with other types
of anastigmats is also but a makeshift
expedient for obtaining longer focus.
Perhaps the following remarks will
help in the choice of lens between these
two types. They must be understood
to be of a general character, and not to
apply to every lens. The cemented
type then has usually the advantage of
a slightly larger field, and the disad-
vantage of poorer central definition.
It is for this latter reason that it is not
advantageous to make an /4.5 lens
of the cemented type. For extreme
rapidity the type of three separated
lenses is the best. For wide angle, the
cemented type. Some people also prefer
the doublet type, because of freedom
from flare, and of loss of light by reflec-
tion, because of the smaller number of
glass air-surfaces. It must be remem-
bered, however, that there need not
necessarily be harmful flare about a lens
with air spaces, and, further, that it may
only contain two more glass air-surfaces
than the doublet; and, lastly, the thick-
ness of glass is very much less, and there
is no cement, so that the absorption of
light is less. The only way to settle
between the rapidity of two lenses is to
take photographs of a black-and-white
object with each lens.

There is one further misconception
with regard to the kind of lens for color
photography that I wish to remove. It
is supposed by some that for this kind
of work a specially corrected lens is
needed. This is true for three-color
process work, and such lenses are made.
But for single-negative work (auto-
chrome, Paget, etc.), there is no need
of a particularly good lens, because the
screen places a limit to the definition of
the picture. If the lens yields crisp
definition, it will not be reproduced in
the picture. Hence, ordinary lenses
are quite suitable for this class of work,
and one can choose a lens of largest
possible aperture without fear of spoil-
ing the picture. — Amateur Photographer.

BY MATTHEWS STUDIO
CONCORD, N C

CHILDREN OF THE HILL DISTRICT'

BY JAMES N. DOOLITTLE
SAN FRANCISCO, CAL
PITTSBURGH SALON, 1917

FINAL"

BY JANE REECE

DAYTON. OHIO

THE CONNECTICUT RIVER

BY W. E. MACNAUGHTON
FROM A PLATINUM PRINT
'PICTORIAL PHOTOGRAPHY"

PRACTICAL PAPERS OX STUDIO WORK AND METHODS

A Chilly Reception

The photographic reception-room is not, as a
rule, an inspiriting apartment. In the majority
of examples there is a want of warmth or cheer-
fulness which places it rather below the standard
of the lounge of a temperance hotel, which, as
some may know, is depressing enough. We
have the old-fashioned style with its dusty
velvet appointments, the oak-panelled hall which
suggests an office, and the modern drawing-room
with its walls decorated in white and gray with
carefully placed frames; but all seem to give one
a chilly feeling even when one comes in from
the rain. We believe this to be mainly due to
the absolute lack of bright color in most of
such rooms. Fearing that the proximity of
bright color will injure the tones and values of
his monochromes, the photographer brings
everything down to a level of decorous dulness
which is too often reflected in the face of the
sitter. Flowers are now to be had cheaply all
the year round, and will do much to brighten up
a room, but too often white ones are chosen, and
their cheering properties are, as we all know,
very slight. The means used to raise the tem-
perature should be of such a character that they
will also raise the spirits, and for this reason a
genuine coal fire, or even a good imitation of
one but burning gas, is to be preferred to the
dismal radiator, the closed-in anthracite stove,
or the feeble glow of the electric radiator. The
most striking reception-room which we ever
entered was entirely fitted with real Oriental
furniture, the few portraits which were visible
being almost unnoticeable. On dull days,
besides the necessary white lights, brass lamps
with colored facetted glasses gave an air of
comfort, which was added to by the crimson
and orange which were the dominant tints of the
luxurious divans which took the place of ordi-
nary chairs and settees. Little of the walls
was visible, Indian and Persian curtains and
rugs adding to the air of luxury which was
attained at a comparatively small cost. It is
only fair to say that these fittings had taken the

owner, a clever artist in another direction as
well as in photography, years to collect. It
would be too much to expect an "Oriental
warehouse" to produce such a result to order,
but much might be done even on those lines.
The effect on the visitor was that he had
stumbled into a chapter of the "Arabian
Nights," and, whether he understood fabrics,
arms, or curios, he could not fail to be interested
and pleased, and in a happy frame of mind he or
she climbed the crazy stairs which led to the
studio, where, clad in the loose blouse of the
ouvrier, he met the artist, in spite of all his
Oriental tastes.

During the winter colored transparencies,
displayed in the darker corners of the room, will
greatly add to its cheerful aspect, and will
help to pass the time for those who may have
to wait for a sitting. Naturally, Autochromes
are to be preferred, but good hand-colored
specimens either of portraits or landscapes are
not to be despised. Perhaps we shall soon
have the Kodachrome process available for this
purpose. Fortunately nearly every studio has
electric lighting installed, so that the illumina-
tion of a show of transparencies becomes a
simple matter.

Not only upon the sitters, but upon the pro-
prietor and his assistants, does a cosy environ-
ment react beneficially. We are quite certain
that in such surroundings it would be easier to
secure good orders than in the formal cold-toned
apartments we so often enter. One note of
caution must be sounded. Heaviness must be
avoided at all costs. WTe have in mind one
reception-room, warm enough in tone, which by
dint of heavy, dull-red walls and hangings and
subdued lighting was enough to make the visitor
feel that the next development was his arraign-
ment before a secret tribunal. Few photog-
raphers will perhaps care in these times to re-
decorate altogether, but it is competent for
everyone to look around and see what can
be done to bring warmth and brightness into
the reception-room. — British Journal of Pho-
tography.

(377)

378

THE STUDIO

Changes in Your Studio

Have you ever moved from one house to
another? If you have, you will remember your
surprise when you saw how faded and damaged
the paint and paper were after the furniture
and pictures had been taken out of the old house.
And then you had a second surprise when you
saw how shabby a good deal of your furniture
looked in its new surroundings.

Three years or perhaps seven years before,
everything had looked fresh and pleasing, but
you, going in day after day, had never noticed
the gradual change. If you had gone away for
a year and then come back, you would have
noticed the change which had taken place during
your absence.

This change — this gradual fading and increas-
ing shabbiness — goes on just as much in your
business premises as it does in your private
house. Unless you make the mental effort you
cannot realize that it is taking place, but it is
essential that you should realize it. And, what
is more, that you should realize its effect on your
business.

Remember that the majority of your customers
are women and that women are much more
influenced by trifles than men. Suppose that a
mother brings her child to be photographed after
an interval of a year. What would she see? In
many studios it would be something like this:

The receptionist asks her to sit down. As she
glances 'round the room she notices that every-
thing is exactly as she saw it a year ago except
that it is a year older. The signs of wear and
tear are the only difference to be seen. There
are the same framed specimens on the walls —
she remembers noticing the old-fashioned frocks
which dated the photographs as clearly to her
as if the year had been printed below them.
There is the same collection of small photo-
graphs— at least they are on the same table and
she remembers the mounts which pleased her
then but she does not see anything new to take
their place.

And then when she goes into the studio every-
thing is the same as she saw it a year before.
Same backgrounds, same furniture, same camera,
everything the same, in fact — except that they
all show the year's wear and tear. Neither in
the reception room nor in the studio has she
seen anything that is new to her and that will
excite her interest enough to take her mind away
from the other things she has noticed.

But it may be said, she comes to have the
child photographed and, if she gives an order,
what harm is done even if the appearance of the
place dissatisfies her?

How do you know that she is not thinking of
having some photographs of herself and that
something new and striking would not lead her
to make an appointment? Or, when she is dis-
cussing the child's photographs with her friends,
that she will not tell them what she thinks of

the studio? The work may be good but there
are other studios where equally good work is
done and where the customer who likes fresh-
ness and novelty has more chance of finding it.

Your studio is probably different. But —
ask yourself this question: Suppose the child's
mother came into your studio — what changes
would she see?

Would she see any new specimens on the
walls?

— any new styles, either in printing process
or in mounts?

— any new way of showing your specimens?

— any new furniture or backgrounds?

If the questions can all be answered with a
"No," now is the time for you to put matters
right. — Photo Digest.

How to Keep Track of Your Work

A photographer uses a form of record which
acts as a receipt, an advertisement to the
customer, an office record and record for the
purchasing department at the same time. The
form is 8| x 3f inches and is made up in tripli-
cate. The first sheet is on white paper; this is
retained in the office as an office record, where
it is placed in a file under the date on which the
work is to be finished, and afterward assembled
in an alphabetical file under the customer's
name.

The second copy — a yellow sheet — is the
carbon copy which is given the customer and is
returned by him when he calls for the pictures.
When the pictures are delivered, the third sheet
is pasted on the negative envelope so that this
envelope shows at all times how many prints
have been made from the enclosed plate.

The triplicate or third copy accompanies the
negative. After proofs are shown this third
copy is attached to the negative and passed on
to the retoucher, the printer, through the finish-
ing room, back to the office, and is held with the
prints before delivery. On the back of this third
form a space is ruled for entry showing the length
of time the work stayed in each department.
This tends to keep the negative moving, as the
manager can tell at a glance just how much time
was spent on retouching, printing and other
operations.

In a small studio it is not necessary that the
third or triplicate copy be used, as often the
owner keeps in such close touch with the work
that he knows where each negative is and how
much work ought to be put in on it.

As indicated by the form, the ticket is self-
explanatory. For pictures to be mailed, a check
mark is made in the space over the word "mail. "
The date on which pictures are to be delivered is
indicated either by checking or preferably by
ringing the date on which delivery is to be made.

The yellow thicket is stamped "Paid" and
returned to the customer, and this constitutes
his receipt.

NOTES

AND

NEWS

at- -^

The Photographers' Association of New England

1017 Convention is to be held at Infantry

Hall, Providence, R. I., September 25-28

This convention is planned along practical
lines. A few of the prominent features will be
the operating demonstrations, making negatives
under various conditions, using artificial light
and daylight; finished prints will be shown at
the convention. An effort will be made to give
practical dark-room and printing-room demon-
strations from the negatives made at the conven-
tion. There will be talks on studio system,
reception-room work, and business side of
studio. An expert artist background worker
will give demonstrations. One of the foremost
airbrush workers will demonstrate and tell the
possibilities of the airbrush as applied to the
studio. Another novel departure this year will
be several meetings of small groups of members
to talk over studio troubles and helps. We will
hear short talks from the various photographers,
some who are prominent and others who want
to assist their brothers photographers by telling
a bit of their own experience.

The prizes offered this year will consist of
the handsome sterling silver cup. Another
feature this year is departing from the former
forms of certificates of merit. There will be no
expense spared to obtain one of the most artistic
in appearance which any photographer will feel
proud to show in his reception room. One of
these certificates will be presented to each who
enters a display that passes a certain degree of
excellency.

The pleasure part of the program will consist
of an automobile trip in and around the beauti-
ful city of Providence. A sail down the Provi-
dence river to Newport. After an inspection
of this pretty spot a genuine Rhode Island clam-
bake will be served, after which a trip will be
taken around the harbor, then back to Provi-
dence. The banquet will be served as usual.
Other attractions will appear, as the photog-
raphers and people of Providence are to welcome
the Association with open arms.

The Annual London Salon of Photography

Although there is still some doubt as to the
use of the British mail system for the import of
photographs from foreign countries, we have

Ps£?^^~

received announcement to the effect that the
Salon will be held as usual this year and that the
conditions of entry are practically the same as
last year, with the exception that it will be essential
this year that all the pictures be sent unframed and
unmounted and must be mailed in packages not
exceeding seven pounds in weight. Under these
conditions photographs may be sent subject to
censorship. Upon request we will be pleased to
furnish entry blanks.

The package of prints and the letter contain-
ing data should be addressed to Hon. Secretary,
London Salon of Photography, 5a. Pall Mall
East, London, S. W.l.

The Least Amount of Light Visible

Just at what point light becomes invisible is
only of theoretical interest to the photographer,
whose dark-room is but comparatively dark,
i. e., it is many times darker than his reception
room, and still many more times darker than
his studio, but it is never dark in the sense that
it is destitute of light. Some interesting experi-
ments have been carried out at the Research
Laboratory at Kodak Park in an endeavor to
establish the minimum radiation, or least amount
of light that can be seen by the eye.

The dark-room in which the experiments were
carried out had to be made absolutely dark,
and this means considerably darker than ordi-
nary dark-rooms. The room in question has
double walls and doors, the inner door being
bound with rubber compression strips; all pipes,
light cables, and air-shafts leading into the room
being carefully fitted and plugged around the
edges. The air, at a comfortable temperature,
is forced from the basement of the Laboratory
through light-trapped conduits. A room when
thus sealed is absolutely dark.

The instrument for measuring the visible light
is a visual sensitometer with an absorbing wedge
to control the intensity of the light, and a light-
proof lamp-house fitted with neutral filters, so
that the only light visible is passed through a
controlled aperture. A finely divided scale
mounted on the wedge enables the observer to
know the exact amount of light passing at any
time.

The observer used a head-rest for all obser-
vations, so that the distance, position of the

(379)

380

NOTES AND NEWS

eye, etc., would be as nearly constant as pos-
sible. In the first part of the experiment a dot
of light about one-twenty-fifth of an inch in
diameter was viewed at a distance of ten feet.
Readings were also taken at distances of six
feet and of fourteen inches. Results taken under
the same conditions vary considerably from day
to day.

When making observations with this apparatus
all adjustments were made and the observer
then remained in total darkness for at least
fifteen minutes, so that his eyes might become
adapted to the darkness before taking any
results. The dot of light was then exposed at a
brightness making it easily discernable, and
slowly dimmed by moving the wedge across the
aperture cutting down the light until it could
just be seen, and the position of the wedge
recorded on the scale. The wedge was then set
so that the light could not be seen, and then
moved slowly until it became just visible, and
the position recorded. This procedure is re-
peated several times, and the average of the
several readings taken is the "threshold" or
least amount of light that can be seen for that
series.

These experiments were repeated many times
by several observers and a great number of
readings taken, averages were then arrived at,
and from the figures obtained much interesting
and useful information is placed at the disposal
of the scientific investigator. To the photog-
rapher who is interested in light it is interesting
to know just what is the least amount of light
that can be seen. It is so very small that it is
difficult to express it in any but exact scientific
terms. If, however, we increase the speck of
light from one-twenty-fifth of an inch to the
size of a small practical light source, such as
an ordinary candle, then we would need a dark-
room twenty miles long, because under similar
conditions an observer would have to back
away twenty miles from the lighted candle
before the faintest trace of its light would be
just barely visible.

Information Concerning the Making and Distri-
bution of Pictures that Show the Activities
of the Army and Navy

Permits to Make Unofficial Photographs and
Drawings

Applications for permits to make pictures
showing the activities of the Army, the Navy,
and other departments and bureaus of the Gov-
ernment, if addressed to the Committee on Public
Information, will be referred directly to the
proper authorities, and unnecessary delays in
securing proper consideration of such requests
will be thereby avoided. It is the function of
this Committee to secure access for the photog-
raphers whenever possible to the Government
departments and to cooperate with them in
making a pictorial record of the work that is
being done. This task will be facilitated if all
requests for permits are handled through one
central authoritative office.

Special permits will be issued on occasions on

condition that all photographs and drawings
be submitted for approval to the Committee on
Public Information, unless otherwise specified.
Requests for permits should explain the char-
acter of the pictures desired and the uses for
which they are intended, and should be accom-
panied by sufficient references to establish the
character and responsibility of the person or
organization from which the request comes.

Pictures that are not Admissible

Pursuant to instructions emanating from the
War Department and from the Navy Depart-
ment, pictures of the following subjects should
not be made or circulated without special per-
mission in writing:

1. Army fortifications, magazines, wireless
plants, navy yards, manufactories of munitions
or any military equipment that has been installed
or adopted since the outbreak of the war, as
well as pictures that give information concerning
ports of embarkation of troops or the fixed land
defenses of the United States or the number,
nature, or position of their guns.

2. Close views of the details of construction,
as well as of all tests, or new weapons, equip-
ment, or instruments used by the Army or Navy,
such as —

Aeroplane devices.
Gun-handling gear.
Electric communications.
Stabilizers.
Submarine fixtures.
Sighting mechanisms.
Range-finding instruments.
Fire controls.
Turret interiors.

New inventions and experiments of military
or naval import.

3. Movements of troops marching or in trans-
port in such a way as to identify localities, or
pictures that reveal special duties of detach-
ments, positions of guards or sentinels, or that
show new military formations.

4. Locations of mine fields or the location,
identity, or number of warships belonging to
our own Navy or to the navy of any country at
war with Germany.

5. Views, in either news or fiction films, that
tend to misrepresent or to arouse prejudice
against friendly nations.

6. Scenes abroad that have not been passed
by censors of friendly nations.

Whether or not specifically prohibited by these
rulings, when pictures are plainly of a character
that require official consideration, representatives
of motion-picture companies and distributing
agencies, exhibitors, illustrative news bureaus,
editors, and others are themselves expected to
withhold publication. When there is doubt as
to the admissibility of pictures, communication
should be had immediately with the Committee
on Public Information, which, with the least
delay possible, will pass upon them.

Information not permissible in news matter
should not be used in reading matter, titles, or
captions in connection with photographs, motion
pictures, or illustrations.

NOTES AND NEWS

381

Exclusive Privileges to Make Pictures
No exclusive privileges to make pictures for
private commercial purposes will be granted
to any photographer or artist.

Releases on Unofficial Pictures
Three prints from all photographic plates
and films exposed with permission by other than
the official photographers within territory con-
trolled by the Army and Navy should be sub-
mitted for approval to the Committee on Public
Information before publication. One print will
be retained as a record by the department from
which the permit is issued; one print will be
retained by the Committee on Public Informa-
tion; and the third print (if the picture is declared
suitable for public distribution) will be returned
to the owner, bearing the imprint, "Passed by
the Committee on Public Information, Wash-
ington." The publication, sale, or other distri-
bution of such pictures as are officially disap-
proved is forbidden.

Photographs made on permits issued by other
departments and bureaus should be submitted
for approval before publication. Still photo-
graphs should be submitted in duplicate; one
print, if approved, will be stamped, "Passed by
the Committee on Public Information, Wash-
ington," and will be returned to the owner; the
duplicate print will be kept for the files.

One positive print of all motion picture films
taken by special permits should be delivered,
free of charge, to the files of the department
from which the permit is issued.

Releases on Official Still Photographs
All photographs made by official photographers
are developed and printed by the military and
naval authorities in accordance with the regu-
lations that are provided. All official plates and
films remain in the possession of the military
and naval authorities, and are not permitted to
to pass into other hands. Prints of every official
plate or film that is released will be kept on file
by the Committee on Public Information for
record; additional prints may be furnished by
the Committee as may be required.

Official photographs of the Army and Navy
will be released through the Committee on
Public Information. All official photographs
bear the imprint of the Committee on Public
Information, Washington.

Prices of Official Still Photographs
A uniform price of two dollars each is charged
for the rights to publish official photographs.
This price includes one unmounted print, for
reproduction. Additional prints may be secured
at a price that shall be determined, but which
will approximate cost price plus a net charge of
two cents each.

No photographic or other copies for reproduc-
tion purposes may be made from official prints,
and only those prints may be published that bear
the official stamp of the Committee on Public
Information. The purchaser of official photo-
graphs secures the pictures for his own use only
or for the use of the organization which he repre-
sents, and he may not sell, loan, or otherwise

dispose of the prints without the written permis-
sion of the Committee on Public Information.

Exclusive Rights to Official Still Photographs
No exclusive rights shall be given to any person
or organization to the use of any official still
photographs.

Releases on Official Motioyi- picture Films
Official Army and Navy motion-picture films
will be released through the Committee on Public
Information, and will be distributed as the
demands of the occasion may warrant.

Official motion-picture films produced by other
departments and bureaus may be secured at
terms or under conditions that will be furnished
upon application.

Photographers with the Army and Navy on Active
Service
No photographers shall be permitted to accom-
pany the Army abroad on active service in the
war zones, except the official photographers in
the Government service. Applications for per-
mits for photographers and artists to picture the
activities of the Navy should be addressed to
the Committee on Public Information.

"Official Photographs1' and "Official
Photographers1'
Only those photographs that are made by
official photographers in the employ of or under
contract to the Government may be termed
"official photographs." Only photographers
who are in the employ of the Government may
be designated as "official photographers," and
this designation will apply only during the period
of their service.

Photographs Submitted for Approval
Motion-picture producers, illustrative news
bureaus, and photographers generally are invited
to avail themselves of the advice of the Com-
mittee on Public Information in regard to the
admissibility of pictures that are taken without
permits. In such cases photographic prints
should be submitted in duplicate to the Com-
mittee on Public Information. If admissible
one print will be marked, "Passed by the Com-
mittee on Public Information, Washington,"
and returned to the owner without further com-
ment. If the picture is not admissible, the print
will be marked, "Not authorized by the Com-
mittee on Public Information," Washington.
The use of photographs thus disapproved is
prohibited. The duplicate print will be retained
as a record by the Committee on Public Informa-
tion.

Motion-picture films will receive immediate
consideration, and will be returned with the
written approval of the Committee or with
suggestions concerning changes that may be
desirable.

No photographs or drawings shall be con-
sidered as approved until prints have been sub-
mitted for review and have been officially
stamped or released in writing.

Kendall Banning,
Director of the Division of Pictures.

382

NOTES AND NEWS

Business for the Photographer

Many photographers are seeking new fields
of employment owing to the small margin of
profit on their work. Yet a photographer in one
of our larger cities, where there was consider-
able competition, seemed to keep very busy,
while his automobile testified as to his prosperity.

Asked how he did he replied, "Advertising!"
Everybody wants their pictures taken," he said,
"but they don't just get around to it. Now
that is how I make my money, I see to it that
they DO get around to it. " Which he did.

One of his stunts was to mail to a well-picked
list of townspeople a blank photograph mount.
In the picture circle he inserted his advertise-
ment, together with the pertinent remark: "You
ought to have your picture here."

He also kept a card index of all his appoint-
ments. If his records showed that certain persons
hadn't visited his studio for two years since
their last "family group picture," he wrote
them a pleasant letter suggesting that they come
again and have a later grouping. He met the
customers himself and attended to all the picture-
taking, but he found it profitable to hire help
to do the developing, which left him free to work
up his advertising.

The Wanamaker Third Popular Exhibition of
Photographs

The Third Popular Exhibition of Photographs
will be held in the John Wanamaker Store,
Philadelphia, November 1 to 17, 1917. Entries
close October 13, 1917.

The first prize will be $25 in cash.

The second prize will be $15 in cash.

The third prize will be $10 in cash.

And ten prizes of $3 each, besides honorable
mention for as many pictures as the judges find
worthy.

Rules for Exhibitors

To win a prize, a picture must be the original
camera work of the exhibitor — not copied. The
developing, printing or enlarging may be done
by others.

Previous showing of pictures in other exhibi-
tions will not exclude their entry, but pictures
not previously exhibited will be preferred in
awarding prizes. Successful contestants, how-
ever, in any of our more advanced March
Exhibitions, are not eligible for any of the
prizes.

Only one of the first three prizes will be given
to any one exhibitor.

Pictures winning prizes become the property
of the John Wanamaker Store, with the privilege
of reproduction for illustration. Exhibitors who
prefer to keep their winning pictures may do so
by waiving claim to the money prize.

Photographs must be mounted on white,
cream, light gray, or light brown cards, none
smaller than 8x10 inches, or larger than 18 x 22
inches. We are obliged to insist on this rule to
preserve the appearance of the wall. They must
not be framed, and should have plainly written
on the back the title of the picture, name and
address of exhibitor, and other statements of
interest mentioned on the label which our

Exhibition Bureau furnishes. In addition to the
label, the exhibitor must make a list of his pic-
tures on a card suitable for a card-index cata-
logue. These cards will be furnished on appli-
cation.

Photographs intended for exhibition should be
carefully wrapped and plainly addressed, and
marked with name and address of the exhibitor;
and delivered to the Exhibition Bureau on or
before October 13, 1917. No picture shall be
removed from the walls until the close of the
exhibition.

The express charges, if any, must be paid by
the exhibitor.

This November Exhibition is intended for
novices in the art of photography, and the prizes
will be awarded by newspaper photographers
who are practical men. To keep up the standard
of the exhibition, these judges will have author-
ity to hang only the best pictures.

For further information, inquire at the
Photographic Exhibition Bureau, Street Floor,
Juniper, John Wanamaker, Philadelphia.

An Open Letter

East Canaan, Conn.,
July 18, 1917.
My dear Mr. Hammond:

In your very interesting article in the July
number of The Photographic Journal of
America, "Variations in Iron-Silver Printing,"
you say, on page 293, en passant, "Do not dis-
solve ferric oxalate in hot water."

Please do not think that I am trying to find
fault with your valuable contribution to photo-
graphic literature, but I feel that there must be
a mistake somewhere, and I should be glad to
have the matter cleared up. I have done a
good deal of sensitizing paper with platinum
salts, using the method outlined in your arti-
cle (i. e., sensitizing with solutions of ferric
oxalate and potassium chloroplatinite, and
developing in a solution of potassium oxalate),
and have invariably dissolved the iron salt in
hot water, at about 212° F., nor have I ever
had any failures which were not directly attribu-
table to other causes. Also, I have instructed
my pupils to use hot water in making up the
solution in question, nor have I ever known of
any failures which could even remotely be
referred to such technic.

I should be glad to have this discrepancy
explained, and I think the explanation might
be valuable to other workers, since I have found
the salt in question not readily soluble in cold
water. This thought is what impels me to
address you in the form of an open letter, but I
wish to repeat that I am in no sense criticizing
your article, and am merely asking for informa-
tion.

Yours most sincerely,

Paul L. Anderson.

Death of Henry S. Smith

Henry S. Smith, of the firm of Pinkham &
Smith Company, Boston, and one of the best-
known photographic lens-grinders in the coun-
try, died on June 28th at his home, Everett,
Mass., aged fifty years.

NOTES AND NEWS

383

"Pictorial Photography, Its Principles and
Practice"

By Paul L. Anderson.
Octavo. Cloth, illustrated, S2.50 net.

In response to an urgent demand for an
authoritative book on American Photography
written from a scientific standpoint, not too
elementary on the one hand, nor ultratechnical
on the other, Mr. Anderson has produced his
"Pictorial Photography."

The effort has been made to present a discus-
sion of the general principles of the various
methods which will be found most useful to the
person who wishes to express artistic impulses
by means of the camera, but there is no complete
discussion given of all the photographic methods
which will be of value to such a worker and no
reference is made to the many technical methods
employed in commercial work.

PICTORIAL

PHOTOGRAPHY

ITS PRINCIPLES

ANDfUACTICE

PAOL1..ANDE8SOH

Rarely, however, do we find an author who
combines a pictorial appreciation and such a
clear grasp of scientific principles upon which
the fundamental success of all worthwhile
photography depends. Mr. Anderson fully
realizes the importance of a thorough under-
standing of the underlying principles, the part
they play in enabling the worker to locate and
correct his mistakes, and with this knowledge
continually to develop and grow in his desire for
photographic expression.

This hand-book is practical, well illustrated
with text diagrams and full page inserts of some
of the best examples of American photography
printed on different media. There is inspiration
and stimulus for better work all through its 302
pages.

Every photographer who wants to do better
work will find discussed the very points on which
he gets helpful suggestions and definite instruc-
tions. Supplied through this office.

Death of E. Starr Sanford

E. Starr Sanford, formerly of the firm of
Davis & Sanford, Fifth Avenue, Xew York, and
lately conducting a studio at Greenwich, Conn.,
died at Katonah, X. Y., on July 18th, aged

fifty-five years. About three years ago, while on
his way to see his son in Texas, the ship upon
which he was traveling was struck by lightning,
and he received a severe shock, from which he
never recovered. The arteries of his eyes
became affected and later complications of a
more serious nature set in, causing his death.

Side Lines

The problem of side lines is a very difficult
one to solve for the photographer, and the
experiences of those who have had a fondness for
trying them have been a series of successes and
failures. We do not know of any golden rule
that will enable any one to make an infallible
decision as to what will prove a profitable side
line or what will prove unprofitable, but, after
many years' experience and many attempts, we
feel that the safest rule is a simple one: The only
side lines that prove profitable are those most
closely allied to the main business.

It is out theory, built on experience, that the
best results can be obtained only by the pro-
prietor giving his undivided attention to his
main business. So long as he keeps his attention
and his thought centered on that, he is going to
make it go, and anything that distracts his
attention from it is going to interfere with his
success. If a photographer studies his business
and works hard at it he will see it increase. But
if he pushes something else, his photographic
business will begin to suffer.

So long as his side lines are so closely con-
nected with his regular line that when he pushes
one he pushes the other, he is making progress
but if he branches out into a line that is entirely
different he may make some money on the side
line, but he is very liable to lose an equal amount,
if not more, from his regular trade, and the result
will prove that the venture has not really been
profitable, although the figures may show a
profit on the side line. The temptation to get
more customers into the house, to make some
"extra" profit from outsiders, is a hard one to
resist, and many of us have fallen. Sometimes
it has simply resulted in a loss on the invest-
ment; but the saddest cases are where the regu-
lar business has been neglected, and for every
dollar made on the side line ten dollars have been
lost on the business.

Every fellow to his own trade, and the fellow
who gives his own trade the best of his time and
attention will be the one who will excel. When
the photographer is tempted to take on a side
line in order to make an extra profit, let him
first consider the probabilities from both sides,
his own going business and the profit from the
outside investment. In general terms, we would
say that side lines that are kindred to the trade
are very good, and in the majority of cases safe;
side lines that are distinctly apart from the regu-
lar business had better be left alone, for they
are unsafe and in the majority of cases will prove
a loss. — Trade News.

THE WORKROOM

By tSe JieaW Operator

Flashlight Powders

When Does a Fixing Bath Become Exhausted

Damp-proof Boxes for Negatives

gelat1nobromide ferrotype photographic plates

Blisters on Bromide Prints

Preparing Transparency Plates by the Albumen

Process
Multiple Toning of Bromide Prints
Photographic Value of a Wet Day
Some Lantern-slide Methods
Two Pictures on One Plate
The Adapter Back

Rack for Holding Retouching Colors
Permanganate Bleach for Bromides

Flashlight Powders

The making of flashlight powders must always
be carried out with care. Each ingredient must
be ground in a mortar separately, and mixed
quickly with a spatula made of smooth white
pine; hard rubber, celluloid, or metal must be
avoided.

The following flashlight powders are not of an
explosive character; they are not of an extremely
rapid character, but quick enough for ordinary
work, and may be depended upon.

Any formula giving sulphide of antimony or an
ingredient shouldbeavoided. Such a preparation,
when mixed with chlorate of potash, sulphur,
and magnesium powder, is equivalent to black
gunpowder in explosiveness.

The following formulae may be used with
pyroxylin as a fuse with safety.

Potassium Permanganate Flash Powder
Magnesium powder . . . 2| oz.

Potassium permanganate in fine

powder \ oz.

Chrome Alum Flash Powder

Magnesium powder 1 oz.

Chrome alum, finely powdered and

very dry \ oz.

Potassium Nitrate Flash Powder
Finely ground potassium nitrate . 1 oz.
Magnesium powder .... 1 oz.

Potassium Chlorate' Flash Powder
Magnesium powder .... 1 oz.

Finely ground potassium chlorate . § oz.

Aluminum Flash Powder

Finely ground aluminum . . . \ oz.

Magnesium powder ...'.. 3J oz.

Potassium chlorate \ oz.

The following formula for dark interiors,
mines, etc., has been used successfully:
(384)

Amidol Developer
Rollable Backgrounds
The Surface fcr Trimming Prints
Local Reduction of Negatives
Focussing Sharply
Fixing and Washing
A Hint on Bromide Printing
Large Heads Direct

Cleaning, Renovating and Re-mounting Photo-
graphs
Avoiding an Old Trouble
Reflex Cameras in Professional Work
Pointers
Hands

Powdered magnesium .... 5 oz.

Nitrate of baryta 6 oz.

Potassium chlorate 1J oz.

Flowers of sulphur 1 oz.

Melt beef suet, use 3 ounces in an earthen
pipkin, add the magnesium, then the nitrate
of baryta, chlorate of potash, and last of all the
sulphur. Carry out the melting over a water bath,
stir with a pine stick, and pour the mass into a
cylindrical zinc box, in the center of which has
been fitted a piece of lamp-wick, soaked in a
mixture of chlorate of potash and water and well
dried. This will form the torch for lighting the
mixture at any time. The zinc box will burn
with the mixture and aid the light.

The following preparation is perfectly safe,
but burns slowly, giving a very brilliant light.
The use of powdered shellac is introduced for
this purpose. The mixture may be used in
shallow tin cases, or a low formed earthen pot,
such as is used for pomades and face creams:

Shows Very Brilliant Light

Powdered shellac 2 oz.

Nitrate of baryta | oz.

Potassium chlorate . . . 1 oz.

Powdered magnesium .... 2 oz.

A thin wood chip placed in the center will
form a wick for igniting. The above preparation
should not be mixed for a long time before use —
a day or two will suffice — and no harm will
accrue from moisture if kept in a dry place.

When Does a Negative Fixing Bath Become
Exhausted
That very necessary preparation for the
photographer's use known as the fixing bath
receives probably less attention than anything
else that is employed in photography. All the
while an exposed plate can be cleared, as it is
more frequently termed, the negative fixing bath
is worked to the limit, or until it is noticed that
a number of pinholes show themselves, or more

THE WORKROOM

385

frequently when the negative is removed from
the fixing bath it is observed to present a decided
opalescent bloom all over the surface. When
this is observed it may at once be taken for
granted that the fixing power of the solution has
become exhausted. This bloom is due to the
presence of hyposulphite of silver in a con-
centrated form, together with an extremely
fine deposit of sulphur, all of which may be freed
from the plate by placing it into a freshly made
chrome-alum-hypo fixing bath. If a plain hypo-
sulphite of soda fixing solution is used the liquid
soon becomes discolored, especially if the develop-
ing agent is pyrogallic acid, which, becomes
oxydized, thus producing the brown stain men-
tioned, a stain that will remain permanent if the
plate is washed, dried, and exposed to sunlight
in the process of printing. In a case of this kind
the best method of clearing the film of the pyro
stain, either before the final washing, or, if washed
before printing, is to place it into a tray contain-
ing the following preparation, which will clear the
film and harden it at the same time. After this
treatment the plate must be wiped with a tuft
of wetted absorbent cotton, while a stream of
water is flowing over it from the faucet.

Clearing a Stained Negative Film

Common alum 1 oz. av.

Water 6 fl. oz.

Citric acid \ oz. av.

As soon as the salts are dissolved, the solution
will be ready for use, or the following clearing
liquid may be used, as it acts with more vigor:

Saturated solution of alum . 10 fl. oz.
Hydrochloric acid .... \ fl. oz.

Either of these clearing solutions may be
depended upon to act thoroughly and effectively
in clearing any stain produced by the developer.

When a negative fixing bath has reached the
stage mentioned and becomes saturated with the
silver haloids it should not be thrown away,
because it is richer in silver by far than any of
the paper-fixing solutions. Every time a negative
fixing bath becomes exhausted, pour the contents
into a large stoneware crock, together with the
disused fixing solutions that have been employed
for paper prints, so that the metallic silver may
be thrown down or precipitated by means of a
few pounds of sheet scrap zinc, stirring the mass
occasionally with a stick so as to shake off the
precipitate. This method is to be preferred to
the use of liver of sulphur (potassium sulphide).
All the silver is precipitated by this means in
a more cleanly way than by the sulphur method,
as well as being more healthy. Sulphur fumes of
any kind should be kept away from the dark-
room or workroom if for no other purpose than
to prevent the injury that will always occur to
both plates and paper, by the sulphurizing of
the sensitive surface.

Another point should be attended to, soon
after a new fixing bath has been in operation,
and that is to filter it, wash out the negative
fixing box, replace the filtered bath, and then
examine the negatives that have been fixed in
it. They will present an appearance that will
give pleasure to view them; there will be no
pinholes, no bloom upon the film, or nerve-like

markings upon the surface. Every negative will
present a clean and clear appearance, and
because of the entire freedom from surface
markings there will be less labor for the retoucher
and less money to be paid by the proprietor,
owing to the work of retouching being reduced
to a minimum. Those photographers who have
never made this trial should do so, and when they
see the result in their negatives they will never
begrudge the time and the small amount of
labor expended to secure such good results.

Damp-proof Boxes for Negatives

The ideal method of storing negatives has
probably yet to be evolved. Meanwhile most
of us, I fancy, drift into the habit of using the
cardboard boxes in which the plates are origin-
ally packed. These are very handy, and in most
ways admirable for the purpose, but, like other
gcod things, they have their drawbacks. First,
they absorb moisture from the atmosphere very
freely, and unless stored in an extremely dry
place the boxes soon get damp and mildewed,
as the many who have to depend upon scullery,
bathroom, or cellar for their storage can testify.
Even more favored spots are by no means free
from the bugbear, which if allowed to persist
will in time reach the films of the negatives,
and cause ineradicable damage. Second (a most
persistent and annoying propensity), the surface
of the cardboard inside the boxes rubs off in
small pieces, making a kind of dust which gets
on to the films and has to be removed every time
the negatives are used. Third, the boxes are
not quite so stiff as one would like them to be.

To remedy these failings I have adopted the
following simple method. This has proved very
efficient in practice, and as it can be carried
out at a minimum of cost and labor, it will
probably appeal to many readers.

The main stock-in-trade consists of paraffin
wax and a small brush — the familiar gum-brush
will do nicely. A quarter of a pound of the wax
(cost three-halfpence at any oil and color shop)
will do for about a score of quarter-plate boxes,
which is about as many as most amateurs will
require in a twelve-month.

The wax must be applied hot, and the boxes
should be warm at the time of application. If
these things are attended to, the fluid wax will
be absorbed into the cardboard without leaving
any appreciable deposit on the surface. Other-
wise the wax will harden on the face of the card-
board, and cause trouble later by wearing or
chipping off when the negatives rub against it.

A good way of carrying out the operation is
to start by putting the boxes to warm inside the
fender while the wax is being prepared. The
latter, bought in a thick cake, easily cuts with
a knife. The pieces may be placed in any old
tin, which in turn is stood in a pan of water over
the fire. Let the water come to the boil, and
keep it there. The wax melts in a minute or
two, and is then ready for application with the
brush. This should be done as near the fire as
feasible in order to keep everything as warm as
possible throughout. The absorption of the wax
takes but a few seconds, and the two halves of
a box can easily be waxed in about a minute,
while the whole business for a score of boxes

386

THE WORKROOM

including preparation and clearing away, can
easily be got through inside an hour.

The cardboard is surface-dry as soon as
removed from the front of the fire, and the wax
is thoroughly set in a minute or two. It will then
be found that the boxes are as perfect in shape as
originally, and that they are almost as firm as
wooden boxes of the same thickness, with the
advantage of being much tougher.

The wax undoubtedly makes the boxes damp-
proof, and it also fixes the loose surface of the
cardboard, thus doing away with the dust
nuisance.

The latter observation implies that the wax
has been applied to the insides of the boxes, as
in my own case. I decided that an additional
application outside was unnecessary, as the wax
easily soaks right through the carbdoard if a
fairly liberal dose is given. Perhaps best of all,
especially if many boxes are required at once,
would be to melt a sufficient quantity of wax,
and then simply dip the boxes in it for a second
or so.

With common precautions there is no danger
in applying the wax in front of the fire — certainly
no more than with ordinary glue-pot operations
— and the finished boxes seem to be, if anything,
less inflammable than they are in the unwaxed
state.

It may be advisable to propitiate the female
section of the household by protecting the fender
from any possible drops, but the process is not
messy at all, and no anxiety need be felt in this
direction.

Further uses for the waxing process, photo-
graphic and otherwise, will doubtless suggest
themselves to readers, for it is obviously suitable
for many purposes besides the one specially
suggested above.— A mateur Photographer.

to collodion plates and require no other treat-
ment than developing and fixing. It has also
been found possible to simplify manipulation by
combining the developing and fixing bath. It is
suggested that such plates may prove of value in
radiographic field operations. — Revue Scientifique.

Gelatinobromide Ferrotype Photographic Plates

The collodion photographic negative possesses
the peculiar property of appearing as a positive
when viewed by reflected light with the plate
backed by a black surface. The best-known
application of this positive process is embodied
in the so-called "tintypes" in vogue some years
ago. These tintypes were produced by support-
ing the sensitized collodion film upon a thin sheet-
iron plate coated with black japan varnish. The
black surface showing through the transparent
parts of the film produces the shadows, while the
light-colored but opaque silver particles form the
high-lights.

The inconveniences of the wet collodion process
are well-known, and, although dry collodion
plates of satisfactory keeping quality have been
made, adequate sensitiveness to meet modern
requirements has not been secured. The first
gelatin ferrotype plates failed to give a sufficient
light-colored deposit for the proper rendering of
the high-lights, and bleaching with bichloride of
mercury was employed with a considerable degree
of success. The lack of permanency of the
bichloride bleach, however, proved a serious
obstacle to this expedient. By means of special
emulsions, Messrs. Lumiere have succeeded in
producing gelatin ferrotype plates of sufficient
speed that yield images comparable in brilliancy

Blisters on Bromide Prints: Causes and Cures

A number of cases of blisters on bromide prints
and enlargements have been brought to our
notice lately, with queries as to cause and cure.
Contributing causes are many in number. For
example: (1) Kinks, cracks, creases, folds, etc.,
in the paper. (2) Handling the print with hot
finger tips. (3) Sudden change of temperature;
e. g., putting the print into tepid water after it
has been in icy cold water, or vice versa. (4)
Change of density of baths; e. g., passing a
print from a strong (dense) hypo fixing bath
straight into plain washing water. (Note, dis-
solving hypo in water lowers the temperature
from ten to twenty degrees. Therefore tepid-
warm water should be used for making up a
fixing bath which it is desired to use at once.)
(5) The use of soft water. (6) The use of water
in which much air has been dissolved. (7)
Washing under a spray delivering water with
considerable force. (8) The use of too much
alkali (especially caustic alkali) in the developer.
(9) The use of too strong sulphide solution, or
the use of stale (decomposed) sulphide in the
sulphide toning process. (10) A strongly acid
bleaching bath.

Pricking the paper back of big blisters, gently
pressing out the air, and then contracting the
gelatin with methylated spirit is a good plan to
adopt. This procedure is not applicable in the
case of a crop of small blisters. These may
usually but not always be reduced by mopping
the print with a piece of cotton wool dipped in
equal parts of water and methylated sprit, and
then in methylated spirit only.

If the print shows blisters in the fixing bath
they will probably grow bigger if transferred
straight to plain water. To prevent this, pass
the print into a solution of table salt the same
strength or proportion as the hypo and water
bath, and then dilute this salt bath slowly by
adding a little water at a time and rocking the
dish. Another suggestion is to use two fixing
baths — i. e., ten minutes in 10 per cent, hypo,
and then ten minutes in 5 per cent, hypo — and
then 2 per cent, salt bath. Another method is
to clean a sheet of ground glass with soap and
water, dry it, dust it with powdered salt or
French chalk, lightly brush this off the ground
side, lay face down the wet blistered print on
to the ground side, lightly squeegee, allow to dry
thoroughly, and then strip. This is good for
large prints and small blisters.

Where the trouble comes after bleaching and
sulphide toning, perhaps the best preventive is
the simplest of all; viz., to let the prints dry
thoroughly after washing and before sulphiding.

For hardening before fixing, the following have
been advocated: (1) Water, 20 oz.; common
alum, \ oz. (2) Water, 10 oz.; chrome alum,
1 drm. (3) Water, 10 oz.; formalin, 1 drm.

For combined fixing and hardening: (1) Dis-

THE WORKROOM

387

solve in water, 10 oz., in the following order:
Hypo, 2 oz.; soda sulphite, J oz.; alum, 1 drm.;
acetic acid, \\ drm. (2) In 5 oz. water dissolve
1 oz. soda sulphite, then add slowly 1 drm.
sulphuric acid; add 20 oz. water, then \ lb.
hypo; when this is dissolved, add \ oz. chrome
alum dissolved in 5 oz. water. (3) Water, 20 oz.;
hypo, 2 oz.; soda bisulphite, \ oz.; chrome alum,
1 drm. — Amateur Photographer.

Preparing Transparency Plates by the Albumen
Process

The quality of an enlarged negative depends
in a great measure upon the quality of the
transparency from which it is made. There
are a number of methods that can be employed
to produce a good transparency for enlarging
purposes. The carbon process yields excellent
transparencies when a special tissue is used, also
wet collodion, and the gelatin dry plate. When
the last-named plate is used a special plate is
necessary, and the developer must be changed
in its composition if the best results are to be
obtained. A rapid, gelatin dry plate produces a
transparency possessing a considerable amount
of grain, which being magnified produces in the
enlarged negative a coarse and objectionable
result. The consequence is that an enlarged
print made from such a negative shows very
clearly that it is an enlargement. The main
cause of this is that the transparency from which
the large negative has been made was defective.
The difference in two prints of the same size,
one made from a negative taken direct, and
the other from an enlarged negative is always
apparent unless the transparency from which
the enlarged negative has been made was fault-
less. The ordinary dry plate being ready at all
times is generally used because it aids rapid
production, but the results are only too often
very indifferent in character.

It is well known to many of the older photog-
raphers that some of the finest results ever
obtained in the way of enlarged negatives were
produced when the transparency employed was
made by the albumen or collodio-albumen process.
The finest transparencies that have ever been
made for the stereoscope were also produced by
this process. A transparency produced by this
means possesses the soft and delicate qualities
of albumen combined with clear shadows and
strong high-lights which characterize collodion.
It possesses all the qualities necessary for the
production of perfect enlarged negatives. The
method of production about to be described
will enable anyone to prepare the plates from
which these beautiful transparencies can be
made. The basis is a collodion film which can
be produced in two different ways. First by
a collodion emulsion, and secondly by use of a
solution of nitrate of silver in the usual dipping
bath. The first plan is somewhat intricate,
although it would be the best if the plates were
to be made upon a large scale. The second
method being somewhat more simple and easily
applied, will be described here.

In the first place decide upon the size of the
plates it is intended to use, procure a number of
them, clean them well in a hot bath of common

washing soda (about half a pound of soda to one
gallon of water), rub them well upon both sides
with a small mop made by wrapping pieces of
clean, white rag upon the end of a clean strip of
wood. Rinse the plates one by one in a stream
of water, then place them in a clean tray
containing a mixture of muriatic acid (one part
to twenty of water). This will rid the plates
of any trace of soda. Make up the following
which is to form the substratum for a prelim-
inary coating previous to collodionizing:

Albumen (white of one eg£
Distilled water

50 oz.

Do not allow a vestige of the yolk of the egg
to become mixed with the albumen. Shake this
mixture vigorously three or four times during
the day, then after allowing to stand over night,
filter through two thicknesses of cheese cloth
tied over the top end of a kerosene lamp chimney
so that when the chimney is inverted it can be
inserted into a wide mouth bottle or placed in
one of the rings of a retort stand. This filtered
mixture may now be poured into a glass graduate
and the plates taken, one by one, from the acid
bath, rinsed in a stream of water from a faucet,
and one side of the glass coated, the excess of
the albumen mixture being returned to the
graduate by allowing one corner of the plate to
touch the top of the graduate. The plate must
now be placed in a clean rack to dry. The rule
to be adopted in coating plates with a sub-
stratum is to coat the side opposite the diamond
cut, because a glass-cutter who is a master of
his business always chooses the rougher side for
his cutting stroke. When the plates have all
been coated and dried they are ready for the
next operation of collodionizing and sensitizing.
Procure a half-pound bottle of collodion ready
iodized, the longer it has been iodized the better,
and make up a solution of nitrate of silver as
follows:

Nitrate of silver .
Distilled water
Iodide of potassium

2 oz.

20 oz.

2gr.

Shake this solution well, stand it out in the
sunlight for one day, filter it into a glass-dipping
bath, and it is ready now for use.

The following albumen solution must be pre-
pared and kept ready at hand for use after
collodionizing. It should be allowed to stand for
twenty-four hours after preparation and before
being used. All albuminous preparations have
to stand some time before they can be filtered
and used to insure a thorough and intimate
admixture of the albumen with the other
ingredients, as otherwise the albumen will clog
up the pores or meshes of the filtering material,
and completely prevent filtration.

Albumen Solution

Albumen solution (of fresh eggs) 8 oz.

Strong water ammonia ... 2 drams

Bromide of potassium . . . 10 gr.

Iodide of potassium . . . 50 gr.

Distilled water 3 oz.

The albumen must be well beaten up in a clean
basin with a silver or silver plated fork until it

388

THE WORKROOM

is well broken up, the bromide and iodide of
potassium must be dissolved in the 3 ounces of
water, then added to the albumen, lastly the
ammonia. This mixture can be filtered in the
first place by tying a piece of cheese cloth over
the top of a glass funnel, and rubbing the mixture
through it with a small stiff bristle brush. After
this operation, it may be filtered through the
lamp chimney filter already described. It is now
ready for use, and must be employed in the fol-
lowing manner:

Three graduates will be required, two four
ounces and one eight ounces. Each four-ounce
graduate must be filled with the albumen. The
eight-ounce graduate is to receive the excess of
solution after coating each plate. Now proceed
as follows: . Take one of the dried glass plates,
coat it with the iodized collodion, drain the excess
into the bottle, move it to and fro in the air, to
cause the excess of the ether to evaporate, then
place it upon the dipper and insert it directly
into the nitrate of silver bath without stopping.
These operations may be carried on under a
deep yellow colored light, not necessarily under
ruby light. Move the plate up and down in the
silver bath a few times, then allow it to stand
still for about two minutes, lift the plate up.
If a 5 x 7 plate, grasp it by the sides between
the middle finger and thumb of the left hand.
Drain off the silver solution, wash both sides of
the plate carefully in a gentle stream of water
from the faucet. Allow it to drain for a few
seconds upon one corner. Now apply enough
albumen to just cover the plate, and drain this
albumen into the eight-ounce graduate. Turn
the plate around and again coat with albumen,
this time taking the second graduate. Drain
again into the eight-ounce measure. The plate
must now be put in a very clean rack to dry.
The use of the two graduates may now be easily
seen. It is to prevent any possible contamination
of the albumen in use.

Where a sufficient number of plates have been
coated, stand them away in a dark, warm closet
to dry. As soon as dry they are ready for the next
operation, which consists of sensitizing the plates
once more. This will render the bromo-iodized
albumen surface sensitive to light. To accom-
plish this, another nitrate of silver bath will be
required, made up as follows:

Recrystallized nitrate of silver . 600 gr.

Distilled water 20 oz.

Glacial acetic acid .... 10 drams

The plates must now be dipped into this bath
and allowed to remain in the solution for five or
six minutes, using a glass or hard-rubber dipper
the same as employed in the previous sensitizing.
The plate must now be washed well and flowed
over with a strong solution of gallic acid, the
strength being near to saturation point. The
plates must now be allowed to dry spontaneously
in a warm closet. They may then be packed
the same as ordinary dry plates or placed in a dry,
grooved plate box ready for use. Great care
must be exercised to prevent the surface of the
plate from coming into contact with the fingers,
as every mark will show upon the development.
Transparencies may be made with these plates

either by contact or in the camera. If made by
contact the negative should be first varnished.
The time-exposure will be about fifteen times as
long as that required for an ordinary gelatin
transparency plate. It will be found to be an
advantage to overexpose rather than under-
expose, because the development can be kept
well under control. It will also be observed
that the acid nitrate bath will turn a reddish-
brown color after the plates have been sensitized,
but this will not prove detrimental to the sensitiz-
ing of the plates. Having made an exposure
upon one of the plates, develop in the following
manner. The solutions for pyrogallic develop-
ment must be made up as follows:

1. — Pyrogallic acid .... 192 gr.

Alcohol . . ... 2 oz.

2. — Potassium bromide . . 24 gr.

Distilled water .... 2 oz.

3. — Ammonium carbonate . . 160 gr.

Distilled water .... 2 oz.

Take twelve minims of No. 1 in a clean glass
graduate, one dram of No. 2, and six drams of
No. 3. Rinse the plate in a running stream of
cold water, drain off the excess, then with one
sweep flow the developer over the plate. Rock
the plate a little, return the developer to the
graduate, then flow again. Keep the developer
in motion upon the plate by tilting. The image
will now quickly appear. It will look very
different from an ordinary gelatin plate. The
image will be very thin when viewed by trans-
mitted light. It will be very full of detail, but
may require strengthening. This is done by
applying a small quantity of the following
redeveloper with a few drops of a thirty-grain
nitrate of silver solution added.

Pyrogallic acid 12 gr.

Distilled water ..... 6 oz.

Citric acid 3 gr.

The first developer must be washed off and
about half an ounce of the above used to flood
the plate. It will be observed now that the image
becomes very much strengthened. As soon as
the required density is attained wash the plate
and fix it in a solution of hyposulphite of soda,
four ounces to twenty of water. When fixedr
wash the plate for about a half a minute in a
gentle stream of water. It may now be placed
aside to dry. Upon examination it will be ob-
served that the image is of a wonderfully delicate
gradation necessary for the making of a first-
class enlarged negative.

Ferrous oxalate developer may be employed
with these plates, which also gives excellent
results.

It may be advisable to point out here that care
must be exercised in the practice of making
albumen transparencies, particularly in the
developing of the exposed plate, which is accom-
plished by holding it by the top left-hand corner
after it has been wetted, then pouring only just
enough developing solution upon the plate to
cover its surface, and admit of its being rocked
slightly so that the developer can be made to
flow forward and backward upon the plate. To
undertake to develop in a tray like an ordinary

THE WORKROOM

389

gelatin dry plate is not at all necessary. The
developer used for the albumen dry plate should
never be allowed to come into contact with a tray
that has been used for another kind of developer.
The quantity of solution required for develop-
ment is very small. It is also pointed out here
for the benefit of those who are not acquainted
with the wet-collodion process that the dipping
bath and dipper referred to consist of a vertical
glass vessel made in various sizes. The one best
suited for the above class of work would be eight
inches wide and ten inches high, so that a plate
8 x 10 could be inserted, the depth of the
vessel being about one inch, all the above being
interior measurements. The dipper also men-
tioned is made either of glass or hard rubber, the
latter being the best suited for the purpose.
This implement is for lowering the plate into the
bath and lifting it therefrom without contamina-
tion from the ringers. The plate may be dipped
into the nitrate of silver solution for sensitizing
and withdrawn at will. When the sensitizing
is completed, the dipper should be returned to
the silver solution and allowed to remain there
at all times until required for use. These glass
dipping baths and dippers can be purchased from
any large photographic stock dealer, fitted into
a suitable case with cover for their complete
protection from breakage or the action of light.
All these processes for a small amount of wet-
plate work, as this process is called, may be
carried out in an ordinary dark-room with ordi-
nary caution, providing that no free ammonia
is permitted, as this would be liable to injure
the nitrate of silver solution. All that will be
necessary will be to set up this class of apparatus
in a separate part of the dark-room upon sheets
of thick blotting paper, so that any solution
of nitrate of silver that may be spilled will
be instantly absorbed. The little extra trouble
necessary to the production of the albumen
transparency will be amply rewarded by the
production of a transparency that has never been
equalled by any other known process. It must
also be understood that only that part of the
wet collodion process that is necessary to carry
out the work required has been described here.
There being no protosulphate of iron employed,
nor liquid developer made up with the above
iron salt, nor other chemicals that are used in
the wet-collodion process, an ordinary dark-
room may be employed to prepare these special
plates without fear of injury to the gelatin dry-
plate process that may be carried on in the same
room. Development of prints made upon paper
printed by artificial light may also be carried
on under these conditions. The slight odor
coming from the ether and alcohol of the collodion
will not be in the least detrimental.

Two tones will be generally found enough for
a picture of a child; the usual black-and-white,
with the head, arms and legs toned brown. For
adults, three or more tones may be used with
advantage.

The most satisfactory results are obtained
with an absolutely white background, but this
is by no means essential. The child should be
seated on the floor, playing with some toys, or
in any simple and natural attitude.

The print is first made in the ordinary way
on a matt Bromide paper. Some makes which
give good grays and blacks, do not tone well;
to yield a good sepia by the sulphide method,
is a severe test for a really good bromide paper.

When the print is quite dry, it is ready to be
treated in the way described below. The parts
to be toned brown, are first bleached locally
with the following solution:

Potassium ferricyanide .... § oz.
Potassium bromide h oz.

Multiple Toning of Bromide Prints

Prints in more than one color will be found
a decided improvement on the ordinary print
of only one tone. They are specially effective
for child portraiture. Monochrome prints often
have a more or less flat appearance, but this
flatness entirely disappears when a second tone
is introduced.

Water 4 oz.

This bleaching has to be done very carefully
with a brush with a sharp point. I have found
by experience that a small, fine camelhair
brush, size No. 3, is the easiest to use, and gives
the best results.

It is very important that the bleaching should
be carefully confined to those parts that are to
be toned; that is to the head, arms, hands and
legs; in some cases toys or other accessories may
be treated in the same way.

Take the dry print, sit in a good light, dip the
brush in the ferricyanide, and begin on the head.
Pass the brush over it, taking care not to go
beyond the edges of the hair, neck or other out-
lines, nor to allow the solution to run. Then
the arms and legs, if bare, must be done, and
any other parts in the same way. The bleaching
formula given is much stronger than that com-
monly used for sulphide toning, and will fully
bleach the image almost at once, so that it is
unnecessary to go over the same part twice.

The print must next be washed quickly in
water, care being taken to keep it moving at
first, to avoid spreading the solution which
might partly bleach the neighboring parts, even
in a diluted condition.

When all trace of yellowness has disappeared
from the high lights, place the print in a solution
of sulphide or sodium. It is best to have a 10
per cent, solution of this, and dilute a small
portion of it with about ten times its bulk of
water. It may be applied with a brush. The
used solution must not be kept.

The print must then be washed for about half
an hour in running water or several changes,
and dried in the usual way; it will be quite
permanent.

Having gone so far, you may be tempted to
proceed still farther, and introduce a third color,
or even more. Take for instance a suitable print
of a girl in evening dress. You may tone the
hair brown; the face, neck, and arms flesh-
colored; and a ribbon in the hair or a sash, pink.
To do this, you proceed in exactly the same way
as with two tones. First brush over any part
that you wish to tone brown, flesh-colored, or

390

THE WORKROOM

pink with the ferricyanide, and tone with sul-
phide as before. Then, after a few minutes'
washing, blot the print as surface-dry as pos-
sible, and apply some strong gold-toning bath to
the flesh, ribbons, and so on, taking great care
to avoid the hair. The ordinary gold and sul-
phocyanide formula will do; a very little of equal
parts of each should be mixed in a measuring
glass, but must not be diluted with water as for
P. O. P.

This will need even greater care than the first
toning, as the print is not quite dry; but it will
be found easy to prevent the .solution from
spreading if the print is dipped into water and
then blotted again before any more solution is
applied. A quicker method than the blotting,
is to blow the moisture off the part that you are
working on. When you have got the correct
color for the flesh tones, you stop working on
them, and continue on the pink trimmings for a
little longer. Then wash well before drying.

A similar plan may be adopted with land-
scapes. Very effective results may often be
obtained with only two tones, the original gray
and the brown sulphide tone suitably disposed;
but bolder workers may try toning the trees
green, the sky blue, tree trunks and earth,
brown; leaving a gray-stone house its original
color, but perhaps giving it a red roof.

A good blue toning bath, which gives a prus-
sian-blue image is as follows — it is strong to
render toning less tedious:

Ammonio-citrate of iron ... \ oz.

Potassium ferricyanide .... \ oz.

Glacial acetic acid \ oz.

Water 10 oz.

The following gives good greens:

Vanadium chloride 10 gr.

Ferric chloride 4 gr.

Ferric oxalate 5 gr.

Potassium ferricyanide . . . 12 gr.

Saturated solution of oxalic acid . 2 oz.

Water up to 5 oz.

The color is more or less blue at first, but
changes to green on washing, which must be
very thorough.

An unlimited variety of shades of brown may
be obtained by the sulphide method, if varying
proportions of a solution of perchloride of mer-
cury are added to the ferricyanide, when bleach-
ing; the larger the quantity of mercury, the
colder will be the color when the sulphide is
applied.

This method is useful for ordinary all-over
toning, and will yield a satisfactory sepia with
a weak overexposed print, which otherwise would
probably tone to a sickly yellow.

is admirable for street scenes; every pedestrian,
every vehicle, every pillar, and lamp-post is
reflected in the glistening roads, and these
reflections not only effectively break up any
large expanse of foreground, but also provide
contrasts of light and shade, which materially
help to brighten the picture.

A village street is usually a difficult problem,
because the want of height in the buildings
makes the road fill even more of the foreground
than it would in a town street, but on a wet
day the whole of this undesirable foreground
can be broken up, by judiciously arranging a
cart, or one or two children, to fully utilize the
reflective value of the principal puddles.

Ornamental buildings, statutes or archways
make excellent studies behind a wet pavement,
and exhibition buildings with their ornate archi-
tecture and smooth flagged courtyards are at
their very best in wet weather.

On wet days exposures do not need to be
increased, because a wet pavement reflects light
instead of absorbing it, and buildings on which
the sun is not actually shining are never better
lighted than on a wet day, and therefore yield
more detail.

For night photography wet weather is always
chosen because of the reflections.

The Photographic Value of a Wet Day

The practice of photography is generally
associated with sunshine and clear skies, but
those who only take out their cameras when the
weather is fair, miss many attractive subjects.

A wet day — not one on which there is a con-
tinuous downpour, but a bright, clear day with
occasional showers to keep the pavements wet,

Some Lantern-slide Methods

It is often an advantage and a relief from the
monotony of black or brown lantern-slides, to
be able to put into the lantern among them slides
of other colors. Probably the best known method
of obtaining them is by the carbon process, but
this has the great objection that at that period
of the year when lantern-slides are most in
request, the sunlight, and sometimes even the
daylight, which is essential for carbon work are
non-existent.

There are, however, at least two other pro-
cesses which will give the desired results with
less trouble than the process already mentioned.
The first of these is an adaptation of the Ozo-
brome printing process, and has for its basis an
ordinary bromide lantern-slide exposed, devel-
oped, and fixed in the usual manner. The
bichromate and chrome alum solutions may be
satisfactorily made up to the Ozobrome formulae,
and the plaster should be cut to a square of
three and a half inch sides.

The lantern-slide, which has presumably been
dried, is soaked in water for about five minutes,
and the plaster is put into the bichromate solu-
tion for from two to three minutes, and then,
after draining off the superfluous liquid, it is
immersed for about twelve seconds in the chrome
bath, quickly removed, and brought into con-
tact under water with the film of the lantern
plate; the two are squeegeed together, care being
taken to avoid slipping of one on the other, and
left under pressure to ensure continuous and
complete contact for about twenty minutes.

If the pair be laid plate upward and pressure
be applied by a glass plate, the progress of the
reaction can be watched, and when completed
there will appear to be a negative image formed
by the white silver compound against the dark
background of the plaster which is visible through

THE WORKROOM

391

the clear glass of the high-lights. When this
condition is obtained the plate and plaster are
removed to a dish of water at a temperature of
40° C. After a short time the pigment is seen
to begin to ooze out round the edges of the plas-
ter, which is a sign that the two may be sepa-
rated by a steady, gentle pull from one corner.
The warm water may then be gently splashed
over the slide until most of the soluble gelatin
is removed, the final clearing up being done by
pouring hotter water over the slide held in the
hand, selecting those portions which it is desired
to reduce, then rinse in cold water and leave to
dry. The white silver image is removed by
immersion in dilute hypo (one in ten or twelve)
containing just enough ferricyanide to color the
solution. After washing and drying the slide is
quite permanent, and is ready for binding.

A second method, and perhaps a simpler one
than that described, although its product can-
not claim the same permanence, is that in which
the reduced silver of the ordinary lantern-slide
is first bleached in a solution of \ per cent.
iodin in 1 per cent, potassium iodide, and, after
washing in water to remove the excess of iodin
(a little sulphite added to the water will hasten
the process), the plate is put into a dilute dye
solution. The bleached image acts as a mordant
for the dyestuff, and a picture is obtained corre-
sponding in color to the dye used. The whole of
the film will be stained by the color, but this is
easily removed by washing with 1 per cent,
acetic acid, after which a short wash in water
completes the process. For this method the
original slide should be above the average in
density, and it is not desirable as a rule to
remove the bleached image by fixing in hypo,
as the dyestuff alone is generally deficient in
density. Suitable dyestuff s for this process are:
methylene blue, acid green, auramine, fuchsin,
and generally the amido dyes. Multiple colors
are obtained by local bleaching, the iodin solution
being applied with a brush to those parts which
are desired to be of the same color, and the
process is then carried through with the proper
dyestuff, the iodin is then applied to other por-
tions of the plate, and they are dyed in a second
dye bath, and so on until the whole plate is
completed, and even then the remaining uncol-
ored portion, the high-lights, may be tinted by
immersion in a suitably colored dye bath, and
for this other dyes, such as eosin, which have a
greater affinity for gelatin, may be used. A
convenient way to keep the dyes is in 1 per
cent, solutions, and as a rule about 1 c.c. in 50
c.c. of water will be enough for several plates.

It is often necessary to amplify a set of slides
at short notice with copies of pictures, drawings,
or maps, and for this purpose the following quick
method is very useful. The exposure in the
camera is made upon a fast lantern plate, film
to the lens. The exposure should be full, gen-
erally about forty times that which would be
given for a special rapid plate under the same
conditions. Development is carried very far,
until the detail is nearly lost; then the plate is
rinsed and bleached in a solution of 1^ per cent,
of concentrated nitric acid and \ per cent,
potassium bichromate, which dissolves out the
whole of the developed image. The bichromate

is then washed away and the plate returned to
the developer previously used; after immersion
for about a minute it is exposed to a full light,
when the positive rapidly appears. When suffi-
ciently developed, it is quickly put into 25 per
cent, hypo and fixed. This last operation is
theoretically unnecessary, but unless the first
exposure and development have been very
accurately performed it is best to be prepared
for it. The positive picture thus obtained may,
of course, be put into the lantern as it is, or may
be toned or finished, by either of the methods
described above. It should be noted that by
this method a reversed picture is obtained, and
the slide, after being finished, should therefore
be spotted on the opposite side to that usually
employed. — British Journal of Photography.

Two Pictures on One Plate

To make half-quarter negatives (writes Mr.
T. H. Greenall, in Photography and Focus), the
most advantageous plan, in that it saves hand-
ling of plates, is to alter the back of a quarter-
plate or 3| by 2\ camera so that it will take
quarter-plate dark-slides and give two half-
quarter exposures on each quarter-plate. One
way to do this is to make the back so that the
dark-slide may be pushed in from either side, or
from top or bottom, the opening in the back
being reduced to half-quarter. To get the open-
ing centered with the lens, either the lens may
be adjusted, if there is a sliding panel, or the
back may be enlarged a little, so that it projects
at one side of the camera, though this arrange-
ment is certainly a little clumsy. Happily, if the
lens is an anastigmat of good covering power,
it is not absolutely necessary that it should be
centered exactly. The back must be so arranged
that, when the dark-slide is pushed in from one
side, one-half the plate is exposed, and when it
is exposed from the other side the other half is
exposed.

The Adapter Back

Auto engines, dynamos, and mules have each
their own pet form of back kick. The amateur
or professional photographer who feels the
limitations of most hand cameras seems to have
no way of indulging in any kind of a kick. Like
the man six feet two in the upper berth of a
Pullman, the pictorialist feels a trifle cramped
when using these dainty instruments with their
dismal lack of rising front and their short focus
lenses. The writer has no quarrel with small
cameras. They are just the thing for tourists
and other emergencies.

Every pictorial as well as commercial or press
photographer should have one vest pocket filled
with a miniature camera always ready to catch
the fleeting emergency picture. Suppose you
have spent the day with a man-sized camera in
some village, taking pictures of the local churches,
monuments, and such, for commercial post-cards,
or you have tried all through the soothing hours
of a warm afternoon to find out why cows and
horses persist in waving their artistic tails. You
arrive at the railroad station about five o'clock.
While waiting for your train, in comes a wildcat

392

THE WORKROOM

engine that stops for water. With a roar, off
goes the safety valve. A picturesque cloud of
steam is bathed in the low rays of the yellow sun.
You yank out your vest pocket //4. 5 and let fly.
You leave it in a solution of yeast over night,
label it, preparedness, and get a Salon first prize.
Perhaps. The point is to have the proper tools
to work with. All the other pictures you took
that day were of such a nature that speed of
preparation of camera did not enter as a factor
in their success. They were composed full-sized
on the ground-glass. Plenty of rising front,
reversible back and swing back, and a battery of
lenses made the trimming of several inches of
foreground on each picture unnecessary. Too
much history will produce hysterics in the most
prosaic, but one must risk that in order to
present logically the evolution of a great idea.

Unnumbered years ago the writer "blew him-
self" to a 5x7 reversible-back plate-camera
capable of twenty-inch extension. After the
manner of an auto bought without figuring the
cost of running it, the cost of plates and paper
soon forced the large camera into innocuous
desuitude or something equally picturesque.
The 3 j x 4 J size carried the day for several
years. Then came the thought of using kits in
the large camera. Kits like kittens should be
drowned as a squeaky nuisance. The less said
about kits the better. In theory they are ideal,
in practice they are awful beyond the words of
tongue or pen. Imagine trying to use films in
kits!

Another lapse of years was required to evolve
the new idea which again brought the old camera
from its long-suffering oblivion out into the daily
life of an ambitious pictorialist. Instead of
using kits for smaller sizes, an entirely new back
was built out of brads, glue, cigar boxes and
divine energy — a rare mixture known only to
the true artist. This new back is reversible and
slips on and off the camera as quickly as the
original 5x7 back, which can still be used if
desired. Two such reducing backs have been
made for the 5x7 camera, one for post-card size
film-pack adapter and one for a 3f x 4| film
pack adapter and plateholders of the same type.
Each back has a ground-glass slide carefully
made to give exact focus. While in the first
enthusiasm of the idea, the writer even went
so far as to make a reducing back for the 6| x 8^
camera to take all the 5x7 backs. The
difficulty of using short-focus lenses with the
long, square bellows rather dampened the success
of this venture. In the 5x7 camera the
bellows does not interfere with the freedom of
motion of a four-inch lens, which is really a wide
angle for the post-card.

A long, detailed description of just how these
backs were constructed would only weary the
casual reader, the confirmed hand-camerist
would be only the more confoundedly sot in his
ways, and the man who really cares to economize
in plates or films and save the bother of enlarging
in the sizes chosen will have energy enough to
get his back up and build one or two backs by
the cut and try method. Old 5x7 or 5x8
plate cameras with R. R. lenses are a drug on
the market and until the adapter back gets to
be all the rage, you should be able to pick up

such a camera for the price of a single theater
party.

The next layer has two long pieces

with short pieces 4| x 1|. In each layer the
long pieces are run in opposite directions from
the long ones in the layer below. The quickest
way to cut thin wood in the direction of the grain
is to use a sharp jackknife, point guided along
the back of a saw blade laid flat on the wood,
using a series of light strokes that will not split
the wood. Pieces of the same size can be cut
at the same time at a great saving in the labor
of measuring.

The more layers the stronger and heavier is
the back. Three is the minimum, with four
as the optimum. Use both glue and brads to
fasten the thin layers together. Common pins,
preferably of brass, make ideal brads provided
you cut their points off before driving them in.

To prepare the nest for the film-pack adapter,
the last layer or a special layer is made with
the rectangular hole a sixteenth-inch larger all
around than the actual opening in the adapter
or plate-holder. Have the long pieces for this
go the short way of the plate, because the end
where the adapter or plateholder will slide in
cannot be built up later, as are the other sides,
to keep out the light. So this side is made a trifle
lower than the other three, and a piece of black
velvet ribbon is glued over it to make a light-
tight seal.

Lay the plateholder or film-pack adapter face
down on this smooth surface, and on the three
sides, away from the velvet ribbon glue pieces
of wood just the thickness of the flange on the
adapter or plateholder. On top of these strips
go the strips of aluminum or brass plate that fit
over the flange or into the grooves in the holder
which fits snugly under the projecting edges of
these metal strips, making a light-tight joint.
If these metal strips are held in place by screws
they can be tightened or loosened at will, to
allow for wear or for dampness. Wood can be
used in place of metal if the holder has a simple
flange, but it pays to get metal for a grooved
holder.

Make a ground-glass slide on the same principle
of built-up layers, with the longer pieces alter-
nating in direction. Be sure the ground-glass
comes the same distance from the smooth
sliding surface that the emulsion does.

Detail Description of Adapter Back

Cabinet-makers and camera manufacturers,
who value their sanity, had better skip this
attempt to give some of the fundamental
principles involved in the building of an adapter
back.

The working basis starts with the camera as
a model and builds up the new back by a series
of successive layers of thin seasoned wood,
applied one layer at a time, until the desired
rigidity is attained; then attention is concen-
trated on constructing, over and around a hole
in the new back, a nice snug nest for the small
adapter or plateholder.

Like the puzzled baker with his cruller, your
real problem is how big to make the hole. The
back must be light in weight, as well as strong,

THE WORKROOM

393

and incidentally contain an aperture somewhere
near the size of the small plate or film.

Use the camera with its own back off as an
intaglio into which are fitted the first two layers
of the new back. The thickness of the first
layer is determined by the depth of the rabbet
in the back of camera. Each layer will require
four pieces of wood, two long and two short.
In each successive layer the direction of the long
pieces is at right angles to the long ones of the
layer above and below. The bird-like quality
of lightness, coupled with strength given by this
method of construction, approaches closely what
is technically known as dovetailing. .

Metal ff*U &9e i/ieW \

■ F>ac,

yvsi

Rabbet

Side, of £?a c A.

To give a specific instance: my 5x7 camera
has a square back with outside dimensions 8§
inches square. For the post-card adapter back
the first layer (next to the camera) is of six-
teenth-inch wood (the depth of the rabbet) and
has two pieces 7f x 1| running parallel to the
horizon, above and below the long dimension of
the post-card. Between the ends of these long
pieces and in the same plane fit snugly two
shorter pieces, 4f x f inch.

Like the proverbial tortoise, you have now
overtaken and passed the rabbet with a "bet"
on it, and are now ready for the back proper,
which is as simple to build as a matchstick
cob house.

Leaving the first layer in place on the camera,
dab on a little glue and lay on the next layer
of four pieces of regular cigar-box wood three-
sixteenth inch thick, two pieces 8^ x \\, and
two pieces 6x2 inches

Added to the advantage of the ground-glass
and of using long focus lenses on subjects that
require them, the adapter back enables one to
use what amounts to an over size rising and
falling front and the luxury of a swing back.
By arranging the reversible back for an upright
or vertical picture, and then turning the camera
on its side, you are fixed for a horizontal picture
with a lens that can slide sideways instead of up
and down. This makes a handy arrangement

for equalizing the focus when one wants to
photograph a near object in one side of the
picture and a distant vista on the other. A
possible instance of this would be a shop window
showing a glimpse down the street, or a cliff
close up on one side and a distant landscape on
the other.

To right is the 6? x 8§ with adapter back for 5x7
with its film pack. Takes A. P. C. and 3! x 4i
adapters also. To left the adapter back for 3! x 4I
pictures in 5 x 7 cameras.

Both the pictorialist and the commercial
post-card photographer would derive from the
adapter back a great and lasting economy out
of all proportion to the tinkering required to
make such a back. The lazy and the rich can
have such backs built to order and still effect
an economy. The use of lenses for from 4 to 20
inches focus or even telephoto to get just what
you want on the size plate used, saves in most
cases the expense and bother of enlarging. The
few gems that the pictorial photographer does
work up to exhibition size would have the largest
possible sized image at the start.

To left is P. C. size adapter for 5x7. The
white strips each side of film back are heavy sheet
aluminum slides for F. P. adapter. Pressure can be
adjusted in screws through these plates. To right,
6^ x 8| adapter back for 5x7 takes all other 5x7
backs.

You respond, "Yes, all these advantages have
weight, but I do not like to lug weight around
on the surface of the earth." The writer's
5x7 camera, with adapter back for either post-
card or 3| x 4| weighs exactly five pounds

394

THE WORKROOM

loaded for twelve shots. Add a pound more for
an extra filmpack and a handful of lenses and
color screens, and the grand total reaches six
pounds. Then there is the tripod, but please
remember that your winter overcoat weighs a
neat eight to a wealthy twelve pounds. As you
swagger loftily down Fifth Avenue of a winter
morning it floats about you light as a halo.
Then why grumble even mentally at the added
two or three extra pounds in excess of a two or
three pound hand-camera equipment, when you
go out to conquer cold, cruel Nature? You
are much more liable to bring home a bunch
of plump and husky prisoners from her artistic
realms, with a twenty-inch than with a mere
four-inch outfit.

With the .four- or five-inch anastigmat and
focussing scale the outfit makes a remarkably
steady hand-camera, if need be, which is the very
last word in the direction of complete prepared-
ness.

As a final touch, insert the pegs that hold the
new back in place on the camera. File or chop
off the heads of eight nails of the proper length
and diameter. File or grind the rough ends of
the cut-off nails until they are round and smooth.
Strap or bind the new adapter-back securely in
place on the back of the camera. Drill holes
about three-quarters the diameter of the nails,
using the loops of the camera as guides for the
drill. Drill the holes as far from the camera as
possible. You can file off some of the nail easier,
after it is in, than you can move it around in the
wood. As these nails may come so near the
corner that they may meet and cross each other
in the wood, the holes for them should be drilled
enough off from the " straight " that they will not
meet. When one set of nails is in place, reverse
the back and put in the other set. To prevent
any tendency to warp, leave the new back on the
camera for a few days till it settles down to
business. — E. Blake Whiting.

Rack for Holding Retouching Colors

So many uses come to us almost every day now
in photography for the little books of transparent
water-colors which are put out by the camera
firms and which help so much in even reproducing
snapshots and "jiffy" pictures. But the outfit,
as it comes, consists of the book and a little
enamal pan, only, with, of course, two or three
brushes. And it is always more or less of a bother,
especially if one is constantly dabbing into the
colors, to resort to the piece-meal method of
mixing his colors in the one enamel dish.

I, for one, long ago, discarded this method,
and for some time have, immediately upon
purchasing a new book of colors, mixed up a
small quantity of each color and put it in a series
of small pill bottles, those without a neck being
preferable. At first, these were stood about on
the table, always in the way, until I had experi-
enced much trouble and wrath over spilled colors.

Then, I made a stand for them by boring holes
into a one-inch board, and tacking a thick piece
of pasteboard over the bottom. This, still, was
not overly compact and safe, and finally I made
a device, such as is shown, to hold the bottled
colors.

The upright is a short section of a "2x4,"
with the top cut at an angle, which is hinged to
the lower piece. The upper holes, to accommo-
date the tops of the bottles, are larger than those
in the lower section, for obvious reasons. To
make the finished product less cumbersome, I
dressed the block down to approximately
1| x 3 x 16 inches. The bottom is a suitable
section of a soft-grained, half-inch board. The
block is also preferably of soft wood. The base
not only holds the brushes and other tools,
but serves as a stable base for the whole. Two
strips of elastic tacked over these grooves would
serve to hold said brushes in place when carrying.

The top shuts down over the bottles and clasps
two small hooks. There is a leather strap fastened
to the top to serve as a handle.

To remove all doubt as to the exact location
of each and every color, the name of the color
was printed just below that bottle.

The whole was tinted a bright green, with some
green ink, and, altogether, it presents an attrac-
tive as well as serviceable appearance.

Permanganate Bleach for Bromides

In order to prevent waste of sulphide the main
thing is to rinse the prints free from acid before
putting them in the sulphide solution. There is,
however, no objection to using a clearing bath
before sulphiding provided this is not used too
strong, and also contains a little salt or hydro-
chloric acid. The following is a perfectly safe
clearing bath for either permanganate or bichro-
mate bleached prints: Mix 4 drams of 25 per cent,
solution of sulphide of soda with, say 3 ounces
of water, and add 5 drams of 25 per cent, solu-
tion of pure hydrochloric acid. Keep in tightly,
and preferably rubber, corked bottles. Dilute 1
ounce with 3 or 4 ounces of water for use, and use
only so long as the solution smells of sulphurous
acid. Rinse the prints before sulphiding. The
addition of the salt is not necessary when hydro-
chloric acid is used, but the presence of chloride
is a safeguard in case the bleaching has not been
quite complete.

Regarding the weak spots on print such might
be caused by contact of the bleached print with
particles of undissolved salt, or sulphite, both of
which are solvents of silver chloride when in
strong solution. Spots which regain their den-
sity on re-toning point, however, to exhaustion
of the original sulphide solution. — T. H. Green-
all in British Journal of Photography.

THE WORKROOM

395

Amidol Developer

Some fifteen years ago I used exclusively
amidol on my bromide enlargements, getting
black-and-whites nearer resembling iron oxalate
than with any other developer; but owing to the
lack of keeping qualities after mixing I turned
to metol-hydro.

About two years ago I came into possession
of a formula for an acid stock solution to which
is added amidol and water, and which will keep
in that solution for two or three days. This has
so simplified the developing that I have used
nothing else for over a year.

I also find this an excellent developer for
lantern slides, and where a plate is inclined to
show fog I find it keeps the plate clear. It is a
slow working developer, the proper time for
good snappy prints being about one and a half
to two minutes. For sepias it is excellent.

Here is the formula:

Stock

Water -40 oz.

Dry sulphite .... 6 oz.

Citric acid 120 gr.

Iron sulphite .... 1 oz.

Bromide potash ... 4 drams

For use

Water 10 oz.

Stock 2\ oz.

Amidol 30 gr.

The developer does not deteriorate very rap-
ildy, hence will go as far as metol-quinol. —
Edward J. Davison in American Annual of
Photography.

Rollable Backgrounds

A background (writes L. B., in Photography
and Focus) which has been painted with ordi-
nary oil does not roll up without cracking, but
it may be of service to indicate how this can be
prevented. A quarter of a pound of soft soap
should be stirred up in a pint of boiling water
until it has all been dissolved, and this solution,
a little at a time, should be added to its own
bulk of the oil paint, thoroughly stirring it in
until the mixture is complete.

The Surface for Trimming Prints

Opinions differ (says a writer in Photography
and Focus) as to the best surface on which to
trim prints. The old handbooks used to recom-
mend either a sheet of plate glass or zinc, but
few photographers would be likely to employ
either today. Zinc soon gets scratched and use-
less— or at least undesirable — while both zinc
and glass are open to the objection that they
are very severe on the edge of the cutting blade.
On glass, moreover, unless something is done to
prevent it, the print slips about, and makes it
necessary to use great care to avoid making a
cut where it is not wanted. To prevent this,
smearing the glass with mountant and letting
this dry has been suggested, while with the same
object some workers keep an old negative on
which to do the trimming, using the film side,

of course. A better plan than either is to use a
sheet of linoleum. This blunts the edge of the
knife pretty quickly, and so the cut should not
be carried further than is actually necessary to
trim the edge of the print; but there is no risk
of turning the edge, as there is no glass or
metal. A sheet of cardboard may be used for
the same purpose, or a smooth pile of news-
papers; but linoleum seems to offer more advan-
tages than any.

Local Reduction of Negatives

It is frequently necessary to reduce the inten-
sity of portions of a photographic image with-
out in any way altering the remainder, less fre-
quently perhaps since the introduction of per-
sulphate, but still an almost everyday operation
where the best class of print has to be obtained.

There are two principal methods of effect-
ing the desired end— chemical and mechanical,
the one being the local application of the well-
known reducing solutions, while the other
depends upon abrading or scraping away a por-
tion of the deposited silver. The chemical
method is perhaps the favorite, as many photog-
raphers are still nervous when the use of the
knife is suggested, and they know of no other
way. The ferricyanide and hypo solution intro-
duced by Mr. Howard Farmer is the most gen-
erally used, and if applied with some small
degree of dexterity gives most excellent results.
For local use it should be fairly strong, as it is
then quicker in action and less liable to wander
on to parts of the negative which do not require
its ministrations. I have found a 10 per cent,
hypo solution, rendered a bright lemon-yellow
color with a string solution of potassium ferri-
cyanide, to work well and quickly. Care must
be taken not to use too much ferricyanide solu-
tion, or it will work too quickly, and show
streaks where the brush or pad has been used.
It is desirable to use perfectly fresh ferricyanide
solution: dissolve a few crystals in a small grad-
uate, throwing away any which may be left.

Some sort of a desk is absolutely necessary,
especially with large negatives; the easiest way
of arranging one is to rest a sheet of stout glass
on two blocks of wood, or even small boxes on
the bench or in the sink, one end being slightly
raised, so that the direction of the flow of any
surplus solution can be predetermined; beneath
the glass a piece of opal glass serves as a reflec-
tor, so that the reduction may be watched with-
out lifting the negative.

The best condition for the film is when it has
been drained long enough for all loose moisture
to have disappeared. If too wet it will be diffi-
cult to keep the reducer from spreading, and if
too dry there is danger of showing a sharp out-
line to the work. A camelhair brush in quill or
a small pad of cotton wool is used to apply the
solution, which must be applied sparingly and
quickly distributed over the area to be reduced,
fresh solution being applied from time to time
as may be required. A pad or damp cotton-wool
is convenient for quickly removing the reducer
when it has done its work, and after this the
negative should be put under a spray to wash as
after fixing. Some workers prefer to follow the

396

THE WORKROOM

reduction by immersion in a clean fixing bath, but
I have not found this necessary when using the
solution at the strength already mentioned.

Besides the Farmer reducer there are many
others suitable for local application, notably the
iodin and cyanide solution as used by bromide
workers. This must, of course, be used in a more
concentrated form for negative work, as the
deposit of silver is much heavier. It must be
remembered that cyanide fumes are extremely
poisonous, so that it is not desirable to get the
mouth and nose too near the negative while the
solution is upon it. Apart from this the solution
is an excellent one, and does not alter the color
of the portion treated with it.

There is one method of reduction which stands
midway between the chemical and mechanical,
and that is the use of "ozone bleach," which in
action seems to be very similar to "eau de
javelle." If a negative is immersed in a solu-
tion of this, the gelatin becomes softened and
the image is removed bodily. For local reduc-
tion the negative is entirely immersed, and when
the surface is softened a soft camelhair mop is
used to remove any desired portion. The objec-
tion to this process is that it is difficult to avoid
removing more of the film than is necessary.

Turning to purely mechanical methods of
reduction, the most simple is friction with a
piece of fine chamois leather, moistened with
methylated spirit. This is frequently used for
the reduction of overexposed and halated win-
dows in interiors, and for this purpose it answers
very well, as the patch to be reduced has no
decided outline, and consequently the rubbed
portion, which softens off gradually, is not at
all in evidence. In cases where the patch to be
reduced has a sharp outline it is difficult to keep
clear of the surrounding parts, and consequently
the patch is surrounded by a dark halo. Another
attrition process is known as Baskett's. Here,
instead of methylated spirit, a sort of pomatum
is used, the formula being:

Salad oil 1 oz.

Terebene | oz.

Globe polish Id. tin

This is rubbed on with a soft leather or rag, and
the reduction goes on fairly rapidly; it is easier
to keep to an outline than with the spirit as a
lubricant. A very elegant method of mechanical
reduction is furnished by the "Negafake" pen-
cils and lubricant. These work on the same
principles, but permit of the finest details being
dealt with. They consist of fine crayons or
leads made of a composition which, when used
for retouching, removes a portion of the image
instead of adding to it. Effects equal and in
some cases superior to fine knife work can be
obtained without the exercise of any great skill.
Dry powders, such as pumice and cuttle-fish,
have been recommended for local reduction, but
they are very prone to give "scratchy " or granu-
lar results, and are not to be recommended.

The retouching knife is often the best local
reducer, especially for fine detail which cannot
be treated with a liquid reducer or by rubbing.
As its use pertains more particularly to retouch-
ing, I will not deal with it at length, but will

merely give one or two hints. One is that the
gelatin film must be absolutely dry. Another is
that the knife must have a fine and keen edge,
and must be held nearly at right angles to the
film; and a third is that the lightest possible
shaving should be taken off at a time. The
knife must be firm enough not to "chatter" or
jump when scraping, or a succession of lines
across the line of scraping will appear. A really
good penknife or a surgeon's scalpel are very
suitable. — British Journal of Photography.

Focussing Sharply

Many folks would say that there was little
that could be written on the subject of focussing.
It is so "simple," that anyone could do it, once
they knew what was required. But the more
experienced the worker, the less likely is he to
treat this important operation so lightly, for he
knows that not only may he often be able to
halve his exposure by skilful focussing with a
larger aperture than a novice would employ, but
that he can add to the pictorial value of his work
by careful attention to the nature of his subject
and the employment of what has been called
"selective" focussing. Like almost all other
photographic manipulations, focussing calls for a
little forethought in securing the best conditions
in the way of providing a suitable ground-glass
screen and a properly adjusted and convenient
magnifier.

The surface of the ground glass should be of
a very fine grain and not like, as is often the case,
the texture of a piece of loaf sugar. "Acid
Etched" glass is often recommended, but as
there are various grades, a very fine grain must
be selected in this also, for a coarse "etched"
surface is almost vermicular in its texture and is
worse for focussing purposes than even a coarsely
ground one. The best quality for focusing screen
is known as "finely ground patent plate," and
this may be obtained from most large glass
warehouses, or through the ordinary photo-
graphic dealers, who would procure it to order.
Nearly all ground glass is improved if rubbed
over with a little vaseline which is polished off
with soft paper until the merest trace is left.
This greatly increases the apparent luminosity
of the image and takes away the "dry" appear-
ance of the surface.

A compound eye-piece of the Ramsden type
is the most convenient form of focussing magni-
fier, and this should be adjusted to suit the vision
of the user by making a fine pencil cross on the
ground surface of the screen and sliding the eye-
piece in its tube until the cross appears quite
sharp. A line should then be made on the tube,
so that the exact position can be obtained at
any time. It will be noted that it is difficult to
see the image at the corners of the screen owing
to their oblique direction, and some glasses are
therefore made with a pivotted base, so that
they may be so placed as to catch these marginal
rays more or less end on. It is desirable that the
eye-piece should possess as little chromatic aber-
ration as possible, as it is difficult to focus fine
detail if it is surrounded with color fringes, which
is often the case when using cheap single lens
magnifiers. Occasionally, screens are provided

THE WORKROOM

397

with clear patches, either by being left unground
or by cementing microscopic cover glasses upon
the ground surface. This is supposed to facili-
tate fine focussing, but in my opinion, in the
majority of cases, it is more likely to lead the
operator into error. Most people of moderate
age have a considerable power of "accommoda-
tion" in their eyes, and the aerial image will
appear sharp when it is some distance from the
plane of the focussing screen. There is only one
method of focussing with a clear glass screen, by
which this error may be avoided, and that is by
fixing a small square of tinfoil or other thin
opaque substance on the face of the screen. The
eye-piece is placed so that one edge of the square
bisects its field and the object to be focussed is
brought into such a position that a readily
recognizable point falls upon this edge. The
focus is now carefully obtained, and then the
eye-piece is moved up and down. If the image
appears stationary, it is focussed correctly on the
surface of the glass, but if it appears to dodge
up and down behind the tinfoil, then another
trial must be made.

It is desirable in all cases to focus by a gradual
to-and-fro movement of the camera back or
front, coming to rest slowly much as the index
of a chemical balance does when weighing a light
load. This is especially desirable when using a
lens which is suffering from slight spherical
aberration, which makes it difficult to select the
sharpest position. With such lenses it is neces-
sary to focus with the aperture with which the
exposure is to be made as the focus is altered if
the aperture is afterward made larger or smaller.

Aids to focussing are often very useful, the
commonest being a candle or other flame to
assist in determining the limits of the subject
and obtaining sharp definition when working in
dark interiors, and a finely printed or engraved
card, which is used when copying any badly
defined object such as an oil painting with no
definite outlines or an unsharp photograph. If
the card — an ordinary visiting card answers
well — be placed on the surface of the original
and sharply focussed, the copy will possess all
the sharpness which existed in the original.
Different types of lenses require different treat-
ment to secure the best results. As a rule,
rectilinears and other round-field lenses give the
best average sharpness when focussed midway
between the center and the edge of the field,
unless the subject is one which lends itself to the
natural curvature of the field. With most
anastigmats it is best to secure the greatest
sharpness in the center, as the margins will then
frequently appear sharper in the negative than
they looked on the screen. With all types of
lenses great assistance can be given by a judi-
cious use of the swing back, both vertical and
side movements being employed as needed. In
portraiture especially a much larger aperture
may be used if the back be swung so as to
accommodate the position of the sitter, but it
should be remembered that with a short focus
lens there is always the danger of making the
hands and feet of a sitting figure disproportion-
ately large if the use of the swing back is over-
done.

Focussing with telephoto lenses, especially

those of high power, is a somewhat delicate pro-
ceeding. As the result of considerable experi-
ence in this branch, I would recommend that
the bellows should be extended to the requisite
distance to obtain the desired magnification, and
that the focus should be obtained by the rack
adjustment of the telephoto tube. If the exten-
sion be too great for the pinion head to be
reached by the hand, a Hooke's joint handle
must be used. This is a sort of winding key
which fits on the pinion head and is attached to
a long rod by a peculiarly shaped double link,
which allows it to be rotated in any position,
even at right angles if necessary. A clear patch
on the screen is very convenient when working
with telephoto lenses, as the illumination is
usually feeble, and it is much easier to get an
approximate focus on the clear glass, examining
it afterward more critically on the ground por-
tion. Also in the case of there being any
chromatic error, it is easier seen through the
clear glass. If such error should exist, the best
position to leave the image at is when any
brilliant white spot in the subject is surrounded
by an orange fringe. This will give a practically
sharp outline, but if the same point be focussed
to show a blue fringe the result will be fuzzy. —
British Journal of Photography.

Fixing and Washing

There is no need to be in a hurry about tak-
ing negatives or prints out of the fixing bath.
They are not injured by being left a good deal
longer than necessary, provided the bath is
fresh.

The fixing bath contracts the gelatin emulsion
and expels the water from the pores, thus leav-
ing the gelatin drier and harder than it was
when fixing began. On the other hand, pro-
longed washing in water that is slightly warm
softens and swells the emulsion and may cause
frilling and other similar troubles.

In warm weather, negatives are better for
prolonged fixing and comparatively short wash-
ing. If the fixing bath is fresh, negatives may
safely be left in it for half-an-hour, even though
fixation may apparently be complete in eight or
ten minutes. If negatives are thoroughly fixed
in this way, they will not need to be washed for
more than twenty minutes in running water.
This method of working not only gives more
satisfactory results but is actually quicker than
the usual method of fixing for ten or fifteen
minutes and washing for an hour.

Prints, of course, must be given a longer
washing than plates. — Professional Photographer.

A Hint on Bromide Printing

In spite of all the photographic knowledge
acquired in recent years, very little is really
known about the latent image. Investigators
have never been able to come to any decision
regarding it. They expose a plate or a print,
and they know that they have created this
latent image and that it can be developed, but
that is about as far as their actual knowledge
goes.

398

THE WORKROOM

Still, there are certain peculiarities concerning
it which the regular photographer very soon finds
out by experience. He soon gets to know, for
instance, that, in printing on bromide or gas-
light paper, this latent image is liable to deteri-
orate if the paper is laid aside for some time
before being developed.

When prints are exposed one day, and not
developed until the next, they are apt to appear
very much underexposed. This does not always
happen, but it happens so often that the pro-
fessional cannot afford to run the risk of spoiling
a batch of otherwise perfectly good prints.

Deterioration of the latent image is most
noticeable when exposed prints have been left
in a damp place. Even an hour or so in a moist
atmosphere is often long enough to make a
decided difference in the quality of the developed
print. Prints left during lunch time have been
known to show unmistakable signs of deteriora-
tion. Printers who are not aware that the latent
image is liable to behave in this way often con-
clude that the paper of a certain emulsion is not
uniform in speed. They blame the manufac-
turer for something in his paper which is com-
mon to all papers, and for which there is no
known remedy.

Strangely enough, this trouble is not met
with in plates and films unless they are left for
a very long time before being developed. It is
met with in paper so often, however, that, until
the erratic nature of the latent image is better
understood, professionals would be well advised
to develop prints as soon as possible after
exposure, and to keep a dry atmosphere in their
printing rooms. — Professional Photographer.

Large Heads Direct

When an operator starts taking very large
heads direct, he is liable to fall into the error
of using a lens of too short a focus. He finds
that as fast as he gets one feature in focus
another goes out of focus, and no compromise is
possible except to produce a fuzzy negative
which is sharp nowhere. He learns after a few
failures, however, that a long-focus lens is abso-
lutely necessary for this class of work if he wants
definition and absence of distortion. Another
frequent error in making large heads is under-
exposure. This causes the harshness which is
so fatal to good results. It makes slight blem-
ishes or freckles too assertive, and prevents the
shadows from being luminous. To secure soft-
ness and gradation in the flesh, the exposure
must be full, and development must not be pro-
longed or forced. It is a wise precaution to
keep the developer weak in pyro. — Professional
Photographer.

Cleaning, Renovating, and Re-mounting
Photographs

The photographer is often called upon to
make the best of a photograph which is not in
its state of pristine freshness usually for the
purpose of copying, but sometimes for re-mount-
ing and framing only. It is hardly necessary
to remind a man of business ability that it is
much better to secure an order for copying

when possible, and to this end it is a good plan
to have ready for instant production a rather
disreputable-looking original and a very excel-
lent reproduction of it. However, the question
is the restoration of deteriorated photographs,
no matter what their ultimate destiny is to be.

The simpler the treatment which can be
applied the safer and the more likely to be
successful. Some writers recommend chemical
treatment to restore vigor to a faded print, but
it is a risky busness. One never knows what
the exact condition of a print is and how it will
behave on being intensified, which is practically
what has to be done. It must always be remem-
bered that an exaggerated value is usually
placed upon an old photograph by its owner,
and that an unsuccessful attempt at restoration
will result in a loss of reputation, which is many
times worse than the loss of any profit which
might be made upon the job. Hence I counsel
that the greatest caution be exercised in dealing
with customers' prints, and that rather too little
be attempted than that any risk of injury be
run.

Before trying any other method of restora-
tion, the first thing to be done with a print, no
matter by what process it may be made, is to
get rid of what may be termed adherent dirt —
that is to say, dirt which cannot be removed by
gentle friction with a soft rag or, better still, a
pad of cotton-wool. This is best effected by
gently dabbing the surface with a fair-sized lump
of stiff dough. I got the idea of this from watch-
ing a paper-hanger clean a wall which was so
dirty that the pattern on the paper was hardly
visible. He took a lump of stiff dough and
dabbed it on the paper until it lifted the dirt,
and if it did not restore the original whiteness,
made what was nearly black appear as a very
light gray. The dough must be spread out and
folded over as the surface becomes soiled, until
the whole mass is too dirty to be of further ser-
vice. This, however, is hardly likely to occur
when cleaning photographs. The dough is made
of a cheap quality of flour (which is more glu-
tinuous than "pastry whites") mixed with cold
water and kneaded until it does not stick to the
fingers. If too wet a little more flour must be
added until the mass is elastic and quite clean
to handle. This dough may be used with safety
upon any print, silver, carbon, platinum, or
bromide, and will often be found to do all that
is necessary. With albuminized prints, which
are usually covered with fine cracks, it is espe-
cially good. If any liquid be employed the dirt
is washed into the cracks, and the last state of
that print is worse than the first, but the dough
just lifts the dirt and lifts it out of the cracks
as well as from the surface.

After this treatment we must consider any
obstinate defects. These are possibly due to
grease, and in such case there is nothing better
than a liberal application of benzole, or even of
ordinary petrol or motor spirit. This will remove
grease with any dirt which may be incorporated
with it, and will not injure any print made by
the processes in general use. Naturally, oil
prints or Bromoils must not be treated with
petrol or any similar liquid or the image will be
totally destroyed.

THE WORKROOM

399

The process by which the print is made
naturally influences the treatment which may
be applied. Bromides are among the first to
show deterioration and require the greatest care
in their renovation. There is frequently a sur-
face tarnish which imparts a metallic appearance
to the shadows, and this is best dealt with by
friction with a pad of cotton-wool and a little
metal polish, such as "Globe." This will rap-
idly remove the tarnish, but should be followed
by a careful cleaning with petrol or benzole to
remove any traces of the polish. A coating of
white wax dissolved in benzole or turpentine
will restore the surface and prevent reappear-
ance of the tarnish for a considerable period.

Carbon prints give little trouble. As a rule,
a wash with petrol or a rub with a pad charged
with turpentine and wax will remove all dirt
and give a fresh appearance. Carbon prints
are easily cleaned; a pad of cotton- wool moist-
ened with turpentine or benzole will immedi-
ately remove any dirt. It is necessary to avoid
using any bleaching liquid with these, as chloride
of lime or any similar compound not only ren-
ders the gelatin soluble, but may alter the color
of the pigment. I have found the Globe metal
polish useful for cleaning bromides and carbons,
very obstinate stains giving way to it. Too much
friction must be avoided, or the image will be
affected — in fact, it is possible to reduce a bro-
mide locally in this way; but there is always a
tendency for a granularity to appear. Plati-
num prints are more delicate subjects, and will
not, as a rule, stand any friction. In most cases
the dough treatment will be sufficient, but if
there be a considerable amount of yellowing a
clearing bath of hydrochloric acid may be found
necessary. If the stain does not yield to the
acid, a bath of diluted "eau de javelle" will
usually answer. It is necessary to be very cau-
tious when using this, or a weak solution of
chloride of lime, as there is a tendency to rot
the paper. Immersion in a 5 per cent, solution
of hypo will neutralize the chlorine and will not
injure a platinum image. Naturally, the print
must be removed from its mount before treat-
ment. Platinum prints are easily damaged by
friction, so that only the margins should be
cleaned with rubber or eraser. Even a too vig-
orous rubbing with bread crumbs will remove the
more delicate tones.

Bromide and other gelatin surface papers are
often greatly improved by gently rubbing with
a pad of cotton-wool moistened with methylated
spirit. This will usually remove the tarry film
which is deposited when a photograph is kept
in a smoky atmosphere. Benzole or motor spirit
may be substituted for the spirit, but, owing to
their extremely volatile nature, are not so con-
venient to use. A soft eraser may be used on
matt surface bromides, and for small obstinate
patches the small glass brushes sold for eras-
ing typewriting answer well. Collodio-chloride
papers, which include many of the self-toning
variety, must not be touched with spirit, or the
image will be destroyed. The dough treatment
is usually sufficient, as the surface is not absor-
bent.

Most prints are improved after cleaning by
being treated with a little waxing compound, or

caustic paste, as it used to be called. White
wax dissolved in turpentine or benzole to the
consistence of pomatum answers as well as the
commercial article. This should be rubbed on
sparingly with a tuft of cotton-wool and polished
off with a soft silk or cambric rag. Usually any
spotting or working up is removed in the process
and cleaning and must be replaced before the
final waxing.

Colored work requires delicate treatment, and
it is hardly possible to do more than to rub very
gently with fairly dry breadcrumbs, desisting if
there is any sign of the color moving. The
margins may be cleaned with dough or rubber.

With regard to re-mounting, I strongly recom-
mend, if possible, this should be avoided, and
that the print should be placed under a cut-out,
either of card or paper. If the thick cut-out
be objected to, a mount may be made of white
or tinted drawing paper and pasted over the
original card, an opening being previously cut
to fit the print. This can be done very neatly
by using the dry-mounting tints which have one
side already rendered adhesive. Sometimes the
re-mounting question may be settled by abol-
ishing the margin altogether and framing close
up. A very dingly-looking print can often be
made to look presentable by framing in a rather
heavy dark oak or black moulding.

Unmounting is a ticklish job and is always
attended with some risk. Many prints which
have endured fairly well rapidly deteriorate
after they have been wetted. There is no better,
way than to lay thick wet Robosal blotting
boards between the prints and to put the pile
under light pressure for twenty-four hours; if
they will not lift, damp the blotting-paper again
and put by till next day. If they are still obdu-
rate nothing can be done but to split the board
until it is thin enough to be penetrated by
moisture from the back, when the mountant
will generally soften; but in some cases the print
will have to be laid face down upon a glass and
the mount rubbed away with the fingers. It is
often possible to remove a print from the mount
without wetting by splitting the card until it is
quite flexible; then the print must be laid face
down on a smooth surface and the mount torn
off. If the print is kept flat only the mount will
tear, but if you attempt to pull the print off the
mount the print will tear. It is quite easy to
remove a fragile postage stamp from a tough
manilla envelope by observing this principle.
Any small portions of adhering mount should
be removed with very fine glass-paper and the
print dry-mounted upon the new card, if possi-
ble.— British Journal of Photography.

Avoiding an Old Trouble

A printer complained recently in the corre-
spondence column of a photographic magazine
that, in spite of using a very great excess of
bromide in the developer, he couldn't get clear
high-lights in his bromide prints. This is a
common trouble with inexperienced printers,
and the cause is generally attributed to faulty
paper or unsuitable developer. The old hand
does not need to be told, however, that, when
bromide paper is not stale and has not been

400

THE WORKROOM

fogged by careless handling, degraded whites,
when they occur with such an excess of bromide
in the developer, are due to overexposure and
to nothing else.

There is always a tendency in bromide print-
ing to over-expose and cut short the develop-
ment. It is often done deliberately with the
object of saving time in turning out a big batch
of prints. This causes more failures than all
other causes put together. It produces degraded,
granular prints of a rusty greenish-color, utterly
useless for sepia toning, and equally useless for
black and white.

It is quite true that many well-known exhib-
itors who print on bromide can get some very
pleasing effects by playing all sorts of tricks
with exposures and developers, but the regular
worker who has to turn out batch after batch
of prints, and has to keep them uniform in color
and quality, can maintain a high standard only
by working according to some plan which has
been proved to be the most satisfactory for all-
round work.

There is only one way of maintaining an out-
put of perfect bromide prints, and that is to
expose correctly and develop to the utmost.
The temperature of the developer should be
between 60° and 65°, and should contain the
minimum quantity of potassium bromide re-
quired by the paper — usually one or two drops
of a 10 per cent, solution to each ounce. It is
only when development is complete, or almost
complete, that the image in bromide prints
reaches its proper black color and its correct
gradation. At any stage short of this the color
and gradation are inferior, hence the impossi-
bility of getting perfect prints by overexposing
and stopping development half-way.

Full development, after all, is no great hard-
ship. With an average Enol-Hydroquinone or
Dolmi developer at a proper temperature, the
average time for bromide paper is from 1| to 2
minutes.

The golden rule is: Get the exposure right,
watch the clock and the thermometer, and the
prints will look after themselves. — Professional
Photographer.

Reflex Cameras in Professional Work

The average professional photographer has
never taken kindly to the reflex type of camera.
I know of more than one who has gone as far as
purchasing such an instrument, only to keep it
on the shelf after a few trials. The fact is that
such people expect too much from an instru-
ment which is of inestimable value for special
work, but has many shortcomings when com-
pared with a stand camera for ordinary work or
with one of the collapsible type for what are
generally termed snap-shots. The true function
of the reflex is to ensure accurate placing of the
subject upon the plate, combined with absolute
sharpness of definition in circumstances when
it is impossible or undesirable to use a stand
camera. The greatest amount of benefit can-
not be obtained without a little study and prac-
tice, and I would recommend anyone who
acquires a reflex camera to use it as an amateur
for a while on subjects which are of no impor-

tance from a commercial point of view until all
the necessary manipulations can be performed
with perfect ease and confidence. It is taking a
strange camera on an important job and getting
the focal plane-shutter jammed which makes
one resolve to go back to the old stand camera
and to stick to it, although it will mean passing
many subjects which could easily have been
secured with the aid of the reflex. Let us con-
sider the general advantages and disadvantages
of the reflex system before dealing with any of
its special applications.

Its first good point is mobility. The operator
is not limited in his choice of positions to places
where it is possible to put a stand. This merit
is, of course, possessed by a five-shilling Brownie,
but not by the best stand-camera made. Next
we have an absolutely correct centering of the
image upon the plate, the great point with a
stand-camera, but one which is absent with even
the best hand-cameras fitted with small finders.
I have worked with nearly every type of hand-
camera from five shillings to fifty pounds, but
I have never found one that you can depend
upon within a quarter of an inch in a half-plate
unless it was a reflex. The greatest advantage
gained by the use of the reflex is the absolutely
correct focussing which is ensured. It is given
to few persons to focus correctly by scale when
using, say, a nine-inch lens working at//4.5, but
with the aid of the mirror it is the easiest thing
in the world; in fact, the larger the working
aperture of the lens the easier it is to get a sharp
image. For this reason the reflex is invaluable
to the photographer who only occasionally uses
a hand-camera and does not acquire the knack
of focussing by scale, which most Press photog-
raphers seem to possess.

The disadvantages of the reflex are, first, its
considerable bulk and weight; a half-plate, the
most useful size, is rather heavy to carry and
clumsy to handle. Secondly, slowness in action;
rapidly moving subjects often may be missed
during the time lost in raising the mirror.
Thirdly, lack of sufficient range of rising front
and an absence of swing-back; these shortcom-
ings preventing its effective use as a stand
camera. Another drawback with most (not all)
of the shutters is the absence of long "instan-
taneous" exposures, say, between \ and yV of a
second — just the speeds required for photog-
raphing animals and children. Moreover, in
many cases there is far too much noise in work-
ing. One I handled the other day suggested at
each exposure that the whole instrument was
coming to pieces.

Child portraiture is the field in which the
reflex camera will be found most useful by the
professional, and especially by one who has pre-
viously found this work to be a weariness of the
flesh, since by its means the great problem of
keeping the sitter in position between the time
of focussing and exposure is practically solved by
reducing that time to the minimum. Another
advantage is gained by convenience in focussing,
as the camera can be placed as low as may be
necessary while the operator retains an erect
position. Personally, I do not believe that how-
ever fond a man may be of children he enjoys
going down on his knees to focus their portraits.

THE WORKROOM

401

Although it is very desirable to have the camera
fitted with an extra-rapid anastigmat, it is by
no means necessary for studio work, as any lens
which can be fitted upon the front and is of
sufficient focal length to allow the mirror to rise
may be used. There are many excellent eury-
scopes and similar types with focal lengths of
ten to twelve inches which answer admirably,
while some cameras will even accommodate such
portrait lenses as a Dallmeyer 3B or 2 A. Of
course, these are for half-plate work. For
quarter-plates a Dallmeyer 2B or Ross C.D.V
lens is very useful. A little ingenuity' is some-
times needed in fitting these large lenses, but
that it can be done I can say from actual experi-
ence. An extra front panel will permit of the
camera being used for outdoor work with more
suitable lenses.

The reflex camera is even more indispensable
for animal portraiture than for the human sitter,
for in most cases the work can be done out of
doors and quicker exposures may be given. The
absence of the focussing cloth and of the motions
necessary for removing the focussing screen and
inserting the dark slide are also advantages, as
the attention of the animal is not drawn to the
camera until all is ready for exposure. When
photographing horses, the low viewpoint necessi-
tated by the reflex is usually bad, and the oper-
ator should avail himself of the elevation afforded
by a chair or other stand, so as to bring the lens
,to the height of the eye of a person standing on
the ground. Quite a false impression may be
given by taking a picture from the level of the
stirrups, and yet the cause may be unsuspected.
The owner, who is usually an expert, knows that
the picture is not right according to his ideas,
but usually does not know what is the reason.
The smaller the animal the longer the focus of
the lens should be. Toy dogs, guinea-pigs, rab-
bits, pigeons, or the like must necessarily be
taken at short range, but this should not be
shorter than need be. It is better with such
subjects to get a small, perfectly sharp image
and enlarge to the desired size. In fact, if this
plan be pursued throughout, most of the disad-
vantages of the reflex camera disappear, as a
quarter-plate instrument may be used, and with
a fixed-focus enlarger there is little more trouble
than with contact printing.

Coming to construction, I would in the first
place recommend the selection of a camera with
a shutter which does not profess to give an
extremely long range of exposures, the adjust-
ments being complicated and the results uncer-
tain. A speed of 1/500 of a second is quite great
enough for all practical work, and it is possible
to secure from this down to l/10th second by
adjustment of the slit only. A quick wind device
should be provided, and it is very necessary that
a given exposure can be repeated without hav-
ing to set to the desired speed each time. The
outer covering of the shutter should be remov-
able, so that in case of any jamming occurring
in the gear work it may be remedied without
returning the camera to the makers. Small
chips of wood or splinters of glass will often put
a shutter out of action, and I have before now
had such a thing happen through a dry leaf
blowing in while working. As my camera was

of the get-at-able sort, I was able to be at work
again in five minutes. It is very unwise to carry
the ground glass focussing screen supplied for
stand work in the groove provided for the slides.
If it gets broken there is every probability of
some glass splinters getting into the shutter,
causing a serious risk of injuring the gear and
cutting the blind. Therefore always carry the
screen in the slide compartment and have a slide
in the back of the camera to protect the blind.
Every reflex used for professional work should
be fitted with a reversible back. The horizontal
form enables a great saving in bulk and weight
to be effected, but when figure work has to be
done it is better to put up with these rather
than be handicapped by having to turn the
camera after focussing. Unless the photographer
be very short sighted a pair of magnifiers should
be fitted into the hood. These allow the eyes to
come close to the aperture, thereby keeping out
stray light. They also permit of the use of a
shorter hood and consequently of a slightly
higher point of view. Minor points that should
be regarded are the accessibility of the ground
glass and mirror for cleaning, silence in working,
and convenience in focussing. If possible, choose
an instrument in which the mirror works inde-
pendently of the shutter. The worst pattern is
that in which the mirror flies up with a bang
and lets off the shutter at the moment the shock
occurs. In the case of a second-hand instrument
an extended trial should be allowed. It is better
to hire for a month with the option of purchase
than to buy with the option of getting the
camera exchanged or the money returned.
Dealers vary much in the readiness with which
they comply with such requests. — British Jour-
nal of Photography.

Pointers

Ground cuttlefish and resin mixed in equal
parts make a very good powder for rubbing
down an over-dense part of a negative. The
best way to use it is to take some of the powder
on the finger-tip and rub with a circular motion
on the part to be reduced. If the part is too
small for this method, use the powder on the
point of a paper stump. For large spaces, where
more friction can be used, fine pumice and the
finest grade of emery mixed together make a
very good powder. The emery should be the
grade used by opticians and jewelers.

There are operators who never use a reflec-
tor. They claim that reflected light destroys
the modeling of the face, sets up double "catch-
lights" in the eyes, and adds considerably to the
work of the retoucher. On the other hand,
there are many who always use a reflector.
These claim that it relieves the shadow side of
the face, softens the contrasts and shortens the
exposure. There are sound arguments on both
sides; sounder arguments than those of either
side, however, can be advanced by the man
who knows what he wants and is determined to
get it by any means possible — the man who
uses a reflector when it helps him, and discards
it when he can get the effects he wants without it.

402

THE WORKROOM

Here is a formula for a good dextrine moun-
tant: Best white dextrin, 2f pounds; water,
80 ounces; oil of wintergreen, 15 minims; oil of
cloves, 15 minims. Mix the dextrin into a thick
cream with a little of the cold water, taking care
to break up all lumps. When this is done, heat
the remainder of the water to 180° F., add it
slowly to the mixture stirring vigorously all the
time. This should make a perfectly smooth,
transparent liquid which should be kept hot,
very nearly at boiling point, for ten minutes.
After this add the oils into pots. — Professional
Photographer.

Hands

The more you try to pose hands the more
likely you are to get into trouble. Never call
your sitter's attention to them — this spells
certain ruin to a good pose. Hands, like children,
often become unruly when they have nothing to
do, and they will very likely become awkward
when they are required to do something to which
they are not accustomed. When it is in keeping
with the nature of the picture you are making,
try to have the hands doing something natural.

When a hand is unoccupied the sitter is so
conscious of it that it becomes an encumbrance
rather than a help. Giving the hand something
useful and natural to do avoids this. The hands
may be used with good effect as a support for the
body.

Given an opportunity, the average man will
rest his hand on or grasp something if he is
standing, not because he thinks he is going to
fall over or imagines he is in a street car, but
because it is natural for the hands to be occupied.
— Photo Digest.

Under this heading it is proposed to include each
month a list of all the U. S. Patents; and brief
extracts of the more important, and to include also
such foreign patents as present special features.

Copies of any patent can be obtained from the
Commissioner of Patents, Washington, D. C.
Price, five cents each.

Patent Photo Printing Machine. F. L. Stuber.

1223217.
Apparatus for the Production of Photog. Nega-
tives. E. H. Farmer. 1231581.
Vault-Light Lens-Holder. E. J. Alfieres.

1231688.
Light Dividing Means for Optical Apparatus.

D. F. Comstock. 1231710.
Screen for Projecting. L. Gaumont. 1231727.
Apparatus for Retouching Negatives. J. Horak.

1231740.
Camera-Shutter. C. E. Grenell. 1231878.
Film Case. E. A. Ruppert. 1231945.
M. P. Apparatus. R. K. Snow & A. B. Perdue.

1231958.
Cinematographic Device. E. M. Stoffels.

1231961.

Dissolving Stereopticon. A.F.Victor. 1231974.

Projection Lamp. K. Kleinert. 1232046.

Process for Quick Drying of Cinematog. Film,
etc. E. Planchat. 1232077.

Camera. A. L. Tripell. 1232125.

Photographic-Printing Device. W. Allen.
1232164.

Photographic-Printing Machine. J. A. Chadder-
ton. 1232219.

Automatic Exposure-Spacing Machine for Roll-
Film Cameras. E. G. Ervin & F. C. Smith.
1232254.

M. P. Machine. Jeremiah Keller. 1232326.

Intermittent Gearing for M. P. Machine.
J. Keller. 1232327.

Framing Device for M. P. Machine. J. Keller.
1232328.

Focussing Device for Cameras. C. B. Knott.
1232333.

Method of Producing M. P. Films. L. Miller.
1232359.

Film-Cutter for M. P. Cameras. Carl E.
Akeley. 1232418.

Axis-Finder for A Lens. C. Milgrom & D. Dunn.
1232466.

Forming, and Transparency for Producing, Col-
ored Projected Images. D. F. Comstock.
1232504.

Retouching Device for Photographic Negatives.
J. R. Mettler & G. M. Lafoon. 1232589.

Photographic Film. F. W. Lovejoy. 1232702

Light-Varying Apparatus for Printing Mechan-
ism. P. F. Spery. 1232727.

Attachment for M. P. Reels. L. S. Baluta.
1232753.

Shutter for Photographic Devices. L. P. Car-
hart. 1232768.

Automatic Film-Shifter for Cameras. R. H.
Moore & R. P. Saffold. 1232828.

Film Insertion Device. B. M. Dickson.
1232900.

Camera Attachment. C. G. Tanquary & W. J.
Caldwell. 1232993.

Stop Mechanism for Camera Fronts. C. M.
March. 1233095.

Apparatus for Developing or Intensifying
Photog. Plates. L. D. Nesbit. 1233109.

X-Ray Apparatus. E. Pohl. 1233122.

X-Ray System. H. C. Snook. 1233137.

Apparatus for Printing Cinematog. Films. P. D.
Brewster. 1233176.

Portable Dark Chamber. A. Benko. 1233441.

Segment for M. P. Shutters. E. W. Clark.
1233186.

Lantern-Slide Carrier. F. Schwanhausser.
1233407.

Shutter for Camera-Lenses, Espec. for Studio-
Cameras. J. P. Hansen. 1233571.

Cinematograph for Projection in Nat. Colors by
the Three-Color Process. L. Gaumont.
1233772.

Shutter for M. P. Machine. C. R. Smith.
1233816.

Film-Indicator. M. A. Godwin. 1233868.

Automatic Film-Winding Mechanism for Cam-
eras. L. K. Strate. 1233929.

M. P. Film. P. J. Landin. 1234046.

Photographic Shutter. L. J. Marks. 1234061.

THE PHOTOGRAPHIC
JOURNAL OF AMERICA

THE OLDEST PHOTOGRAPHIC MAGAZINE IN AMERICA

In 1909 it was stated of

Cyko Paper

"Each grade of Cyko has more latitude,
plasticity, chromatic rendition and proper
scale of gradation than any other paper.
Its scope is unlimited"

and yet its scope has been enlarged
every year since, so thcit itl 19 17 it

CYKO is the single and universal expression
of photography today

Ansco Company

Binghamton, N. Y.

BY c. crowther, f.r.p.s.

KOBE. JAPAN

PHOTOGRAPHIC

•JOURNAL-

•^AMERICA -

VOLUME LIV

OCTOBER, 1917

NUMBER 10

PORTRAIT PHOTOGRAPHY AS A BUSINESS

By JOHN A. TENNANT

WHETHER portrait photography
can be considered a lucrative
business, yielding a fairly profit-
able return for intelligent service, is the
question proposed here for discussion.

Like every other question, this one has
at least two sides: That of the photog-
rapher devoted to a business of which
the ultimate profits belong to himself,
and that of the employe whose service
brings him a periodical remuneration
which, like a chemical price-list, is "sub-
ject to change" and has no essential
relation to the profits of his employer's
business. Wherefore, it may happen
that the views of one who has looked
practically at each side of the question
in turn, and is now, happily, able to
regard them both retrospectively, as an
impartial outsider, may be suggestive.

If there is one fact more evident than
another to the observant photographer
of today it is that the public, upon whom
the photographer depends, is of two
minds regarding portrait work: Either

it wants portraiture at a low price
regardless of quality, or it seeks quality
in a measure regardless of the price
asked for it. The lot of the mediocre
workman, hopeless in almost any pro-
fession, becomes daily more and more
desperate in photography. To our
shame be it confessed, there are among
us more mediocre photographers than
either good or absolutely bad photog-
raphers. The business career of such
a photographer is a pitiful struggle.
The "cut-rate" and "coupon" worker,
with his organized facilities for produc-
ing work of a superficial quality at a low
price, harasses him on one hand, while
on the other hand the capable and
enterprising photographer, confident of
his power and knowing the value of his
work, takes away the best patronage of
the locality. Placed thus, "between the
devil and the deep sea," the mediocre
man looks back with envious eye to
the position where he turned out his
couple of hundred prints a day, and was

(403)

404

PORTRAIT PHOTOGRAPHY AS A BUSINESS

always sure of his salary at the week's
end, and realizes by experience that his
last state is worse than the first.

There is a common-sense hint in
these facts well worth the attention of
the young photographic employe : How-
ever natural the ambition of the employe
to enter upon business for himself, he
will, if he is wise, consider well whether
he is possessed of sufficient skill to
enable him to take and hold his place
among thoroughly capable workers and
take that share of the appreciation
which falls only to such as are excep-
tionally skilled in their work; or, on
the other hand, whether it would not
honestly be to his advantage to remain
an employe and content himself with
whatever remuneration his competence
can secure. There is "room at the
top," and money too, among employes
as well as among employers.

As one having exceptional opportuni-
ties to observe the conditions which the
majority of American photographers
have to face in these times, I have no
hesitation whatever in venturing the
opinion that at least one-third of our
photographers would be in more pros-
perous circumstances today had they
improved their possibilities as employes
instead of rushing heedlessly into busi-
ness for themselves, and so creating
such keenness of competition that, with
their restricted capabilities, there was
left to them scarcely the slightest pros-
pect of success. Discouraging though
this may seem, it cannot be too strongly
impressed upon the young photographer
who is fondly contemplating the near
prospect of getting into business for
himself, that for many years to come
there are better and brighter chances
for him as a thoroughly skilled employe
than he could hope to reach in a gallery
of his own.

Turning now to the photographer
already in business for himself, to whom
the opinions expressed contain little of
interest, let us consider the obstacles
which prevent him from making a
success of portrait photography as a

business. The only answer I have yet
received from photographers whom I
have questioned as to the weak point of
their business, is "prices." This uni-
versal complaint has been discussed
again and again at conventions, always
ending unprofitably, as it deserves to
end. The complaint is not an honest
one; it is the cry of hypocrisy shrinking
from the admission of the true com-
plaint— bad work. Let any one, who
honestly doubts that bad work is the
real cause of the decay of portrait pho-
tography as a profession, take an hour or
two and carefully examine the work of
low-price photographers, and, if neces-
sary, look into his own work also, com-
paring all he sees with the work of men
who obtain good prices, and he will find,
if he is sufficiently frank with himself,
that the low-price man, generally speak-
ing, is getting more than his work is
worth, considered as portraiture. I
have been amused, and yet astounded,
at our conventions, after listening to
violent speeches about "prices" as the
cause of the photographers' woe, to
see the speakers pull from their pocket
a bundle of photographs, examples of
their work, of such poor quality as to
be hardly worth the paper on which
they were printed. There is no mystery
at all about "prices," nor has this word
anything to do with the want of success
with the average photographer; his
work is his curse ; when he improves that
his trade will improve also, and in pro-
portion to his earnestness along this line
of improvement he will cease to have
cause for complaint. Let the photog-
rapher look carefully to- his work, the
"prices" will take care of them-
selves.

It is almost unnecessary to add that
in the improvement of his work the
photographer will not only clear away
the greatest obstacle to his success, but
he will also find that the answer to the
question, Is portrait photography a
profitable business? depends entirely
upon the quality of the work as por-
traiture.

THE PRODUCTION OF SEPIA TONES BY
DIRECT DEVELOPMENT1

By ADOLPH NIETZ and KENNETH HUSE

THE observations recorded in the
following paper were made in order
to find the best conditions for
producing sepia tones by the use of a
restrained developer for a fully exposed
print. It is well known that slow
developing-out papers, such as Velox
or Artura, will give warm tones if over-
exposed and developed with a strongly
restrained developer, and some years ago
instructions were given for obtaining
warm tones on Velox paper by this
method.

The process, however, has not come
into favor in consequence of the uncer-
tainties attending its use and we do
not expect that the production of sepia
prints by this method is very likely to
be generally adopted. At the same time
the results obtained in our work were
very interesting and with some subjects
very excellent prints can be obtained.
Great care in manipulation is necessary,
as there is little margin for error, so that
the working of the process is not by any
means easy.

In an attempt to standardize the con-
ditions under which the best tones could
be obtained we found that the tone
depended only upon the time of develop-
ment, and that with a fixed time of
development a good reproduction of tone
could be secured, the exposure being
adjusted to get the necessary depth of
print. We have also found that develop-
ing agents vary considerably in their
suitability for use with restrainers, and
have found that only one or two
developers give really first-class results,
and that one of these in particular is
especially suitable for obtaining good
sepia tones free from smokiness in the
shadows, which was the disadvantage
of earlier methods of obtaining warm-
tone prints by restrained development.

This process about to be described is
particularly suitable for obtaining true

1 Communication No. 53 from the Research
Laboratory of the Eastman Kodak Company.

sepias, a true sepia being defined for this
purpose as corresponding to the sepia
water color manufactured by Winsor
and Newton. Since in development the
print starts as a red-brown and passes
through brown, sepia-olive, sepias, and
olives, any of these tones can be obtained
under conditions which will be stated
later.

The Paper to be Used. Artura chloride
is the only paper with which we have
obtained really satisfactory results, and
it is to be understood that all subsequent
statements imply the use of this printing
material.

Developing Agent. The most satis-
factory developing agent was found to
be chlorhydrochinon. A great number
of other developing agents were tried,
including hydrochinon and elon and
other substituted hydrochinons, but
chlorhydrochinon has the necessary pro-
perties for use as a restrained developer;
it is sensitive to restraining agents, it
works cleanly and is stable, and we have
therefore adopted it for obtaining these
sepia tones.

Effect of Constitution of Developer.
After numerous experiments the best
working formula was found to be:

Chlorhydrochinon .
Sodium sulphite .
Sodium carbonate .
Potassium bromide .
Potassium metabisulphite

Water

to 1000 c.c.

With this as a basis a systematic
study of the effects of each constituent
was carried out.

Developing Agent. Alterations in the
amount of developing agent gained no
advantage.

Sulphite. Changes in the concentra-
tration of this substance had practically
no effect on the resultant tone.

Carbonate. As the developer is inert
in the absence of alkali a certain amount
is necessary to obtain a solution which

(405)

406 PRODUCTION OF SEPIA TONES BY DIRECT DEVELOPMENT

will work at all rapidly with such large
concentrations of bromide and meta-
bisulphite as are necessarily present.
The following considerations will show
the important part taken by alkali in
this process. The color of the resultant
print depends solely on the size of the
silver grains in this case and not on
the formation of any colored oxidation
product. As development progresses
these grains grow in size and hence the
effective color changes successively
through a . range from red to greenish
brown and to black. Therefore, at any
particular stage, the color must be due
to a combination of these various grain
sizes, since some of the grains start devel-
oping at a later time than others. Thus a
proper mixture of greenish black with
red produces the desired sepia. This
balance of grain sizes, depending on the
speed with which development proceeds,
is necessarily dependent upon the con-
centration of alkali used. It was found
that the concentration given in the above
formula was a critical one, as a less
amount rendered the developer entirely
too sluggish, while more hastened
development so materially that the tone
was destroyed. Potassium carbonate
was substituted but was not found as
satisfactory. This may be due to the
fact that in equivalent quantities it is
somewhat more alkaline than sodium
carbonate. It is also doubtful whether
the resultant color was as good.

Potassium Bromide. This may be
considered one of the most important
constituents. After trials of a wide
range of concentrations of bromide about
the amount indicated in the formula
was found necessary and sufficient to
aid in producing the proper tone. An
excess needlessly lengthened the exposure
and the time of development required.
As the proper size of grain can be pro-
duced only in restrained development, a
low concentration of potassium bromide
is obviously detrimental to the tone.

Potassium Metabisulphite. So far we
have given no reason for the use of this
substance, which usually does not appear
in formulae for paper developers. It was
in attempts to increase the keeping power
of the developer that this substance was
first used. In relatively large quantities

it was found to exert considerable re-
straining action and to influence the
color to a great extent. It is prob-
able that the action of metabisulphite
is not exactly similar to the restraining
tendencies of bromide. This is borne
out by the fact that satisfactory sepias
cannot be obtained without this com-
pound, although reds and yellows, such
as those characteristic of ordinary re-
strained development, are easily pro-
duced, by the use of bromide alone. The
greatest factor in the production of
correct tone apparently is a delicate
balance between the concentrations of
bromide and metabisulphite, which seem
to be interdependent and capable of
producing certain tones not obtainable
by other methods. The amounts given
in the formula are about correct; more
metabisulphite renders the tone too red,
whereas less gives greenish black
tones.

Aside from the changes thus far de-
scribed, numerous experiments were
made altering two or three constituents
at the same time, or omitting any one or
two. In this manner more than one
hundred developing formulae were tested,
but not one of them showed any im-
provement over that already given.

Dilution of the Developer. The con-
siderations on the speed of development
and its relation to color, brought out in
the paragraph relating to sodium car-
bonate, are applicable here. Accordingly
if the developer is diluted the speed of
development is decreased and the size
of grain diminished, with a tendency
toward more color in the print. Natu-
rally if dilution is not great practically
the same results may be obtained by
longer development as with the more
concentrated solution. However, noth-
ing is gained by changing the concentra-
tion of the developer, since the time of
development with the formula stated
is conveniently short but sufficient to
permit of control.

Time of Development. That the tone
is dependent only on the time of develop-
ment is indicated by the fact that the
print changes continuously in color from
the beginning, passing through the
stages yellow, yellow-brown, red-brown,
sepia, to greenish-black. Hence it is

PRODUCTION OF SEPIA TONES BY DIRECT DEVELOPMENT 407

evident that, to obtain any warm tone,
it is absolutely necessary to stop develop-
ment at a definite time. But the time of
development having once been deter-
mined, any number of prints may be
developed to the same tone. The actual
time ranges usually from one to two
minutes, which is no more than that
necessary for ordinary development.
This step of the process requires some
experience and skill. It is impossible to
judge by the depth of the print at which
point development should be stopped.
The print fades considerably and also
changes color in the fixing bath, again
changing color and depth on drying. It
is therefore imperative to develop equally
exposed prints for different lengths of
time, thereby securing different tones,
and to complete the operations of fixa-
tion and drying before final selection is
made. The proper developing time is
then chosen and all succeeding prints
must be developed for that time. How-
ever, these statements apply only to a
limited extent; it will be shown later that
the tone obtainable varies somewhat
with the character of the subject and the
contrast of the negative. Other condi-
tions to be carefully observed will also
be considered. Nevertheless, under any
given set of conditions, a definite tone is
obtained by maintaining a constant time
of development.

Exposure. At first glance it may
appear that the length of exposure re-
quired is excessive, since this is of the
order of 75 to 100 times normal. As
Artura chloride is itself a slow paper —
with ordinary light sources the time of
exposure becomes so long as to be im-
practical— but the arc lamp, the mercury
vapor, or the nitrogen tungsten light
reduces this exposure to fractions of a
minute. An indication of approximately
correct exposure is a slight printing-
out of the image. The character of
the negative may somewhat affect the
amount to which the image should be
printed out, but this criterion will be
satisfactory for preliminary trials. The
correct way, however, is to determine
the exposure by the depth of the finished
print, that is, one which has been
developed to the tone desired, fixed, and
dried. Contrary to the procedure of

ordinary printing methods, the exposure
here must be exactly correct, since it is
impossible to compensate by altering
the development time. As experience is
gained, it is possible to judge exposure
and development at different stages of
the process, as in the developer or in the
fixing bath. In proper hands this process
has decided possibilities, and the opera-
tions involved are no more difficult than
those encountered in various other print-
ing processes. However, departure from
the fixed conditions we have attempted
to set forth will probably lead to
failure.

Type of Negative Required. Before
considering the type of negative best
suited for this process it may be advis-
able to include a few well-known facts
concerning reproduction in general. It
should be understood, first of all, that
any negative material is limited in its
ability to reproduce a given scale of tones
in the subject. This is commonly refer-
red to as the latitude of the plate or film.
In going one step farther, from the nega-
tive to the print, another limitation is
placed upon us, inasmuch as the scale
of the paper is insufficient for rendering
correctly the entire range of every nega-
tive. This is naturally the reason for the
different types of paper on the market.
Now the more closely the scale of the
paper approaches the scale of the nega-
tive the better the reproduction. As the
contrast of the paper is increased the
available scale is diminished and thereby
the range of tones in the subject is dis-
torted. Hence for a contrasty type of
paper a soft negative is always used,
and vice versa.

In this process the developer necessarily
tends to effectively increase the contrast
of the paper used. This is shown
graphically by the figure, where Curve I
represents the normal development of
Artura chloride. Curve II shows the
effect of developing an over-exposed print
on the same paper under the conditions
required for obtaining a good sepia. In
the diagram the two curves are plotted
side by side, although the exposure in
the second case was about seventy-five
times that for the first. The latitude of
the paper in each case may be measured
by the projection of the approximately

408 PRODUCTION OF SEPIA TONES BY DIRECT DEVELOPMENT

straight-line portions of the curves onto
the horizontal axis. Thus the distance
between A and B represents the approxi-
mate latitude for Curve II and similarly
that between C and D for Curve I. It
will then readily be seen that the sepia
print can render only a little over half
of the range of tones reproduced by the
black-and-white. Consequently we must
deal with it as if it were another type of
paper.

A\ IC R ID

— E.

In view of the preceding statements
it is apparent that the range of negatives
suited to the use of the direct-develop-
ment process is more limited than that
for ordinary reproduction. But, just
as any photographer usually develops
his negatives to suit the particular kind
of paper he uses, so in this case, by
altering the time of development, he may
adapt his negatives to conditions here
met with. Such distinctive and pleas-
ing tones are possible for at least some
classes of negatives that it may be of
interest to certain careful workers to give
the method a trial. With soft portrait
negatives of a certain quality excellent
work may be done using tones such as
olive sepia or decided olive. It is prac-
tically impossible to describe the kind
of negative with which a reasonable
degree of success is insured, but a little
experimenting should indicate once and
for all the exact type necessary. Another
line of work to which this process is
peculiarly adapted is the reproduction
of paintings and etchings. Here a rich
etching sepia is readily obtained.

In conclusion we will state in a more
concise and explicit way the method of
using the process, along with such added
information as may be necessary.

o 1000

c.c

The solutions required are as follows:

Developer:
Chlorhydrochinon .
Sodium sulphite .
Sodium carbonate .
Potassium bromide .
Potassium metabisulphite
Water

Acid short-stop: Two per cent, acetic
acid solution.

Fixing bath, plain hypo or bath con-
taining Velox liquid hardener.

(Note. — Bisulphite or metabisulphite
baths must not be used, as they are
detrimental to the tone.)

Directions. A sheet of Artura chloride
paper should be exposed under a typical
negative to electric arc, the mercury
vapor, or the nitrogen tungsten lamp.
The exposure required will be about 75
to 100 times normal, and the image
should be faintly visible. The paper
should then be cut into several strips
and each developed for different lengths
of time.

The time of development must be
accurately controlled to within five
seconds, and to assist in this the acid
short-stop should be used. The prints
should be rinsed before placing in the
fixing bath. Develop the first strip one
minute, and remove the others at inter-
vals of from ten to fifteen seconds, noting
the exact time for each print. Fix ten
minutes, wash, and dry.

This will give a series of prints in
different tones which should range from
red to olive. If such is not the case,
extend the range of development times.
At this stage the exposure is of less con-
sequence than the time of development
necessary to produce the tone desired.
From the quality and depth of the print
it will be evident whether exposure has
been correct or not. A few trials will
determine the proper adjustment. Hav-
ing now determined the approximate ex-
posure required and the manner in which
the tone changes with development
time, it will be relatively simple to fix
the exact time necessary to produce any
given tone. If the tones vary widely
repeat the trials, using intermediate
times of development, as the latter may
be a question of only a few seconds differ-

INDIVIDUALISM

409

ence. It will be observed that develop-
ment proceeds very slowly at first, but
speeds up considerably as it continues.
The print will be much darker in the
developer than when fixed and dried,
as fading takes place in the fixing bath,
and the color will be much different from
that of the dried print. Hence make
no judgment of tone until the print is
perfectly dry. It should now be possible
to select the proper time of development
and to then adjust the exposure to give
the desired quality, after the manner
similar to that used in ordinary printing.
It is difficult to give more explicit instruc-
tions than these, but if they are intelli-
gently followed experience will be rapidly
gained and the operator should then be
able to obtain satisfactory results.

We have up to this point not advised
the judgment of tone until after the print
was dried. After a number of observa-
tions on the change of color in the
developer, however, it will be quite
possible to determine the stage at which
development should be stopped. A
marked purple veiling appears at about
the proper development time. By now
carefully watching the print (which may
be done by rather strong yellow or
weak tungsten light, because of the very
heavy exposure already given) and cor-
relating the colors of the prints on
removal from the developer with those of
the same prints fixed, washed, and dried,
the skilled worker will readily acquire
the proper criterion at an intermediate
stage of the process. In a similar way
the appearance of the print in the fixing
bath may afford a method of judgment
of tone. But for the first trials of the
process development by time alone is
recommended.

The limitations of the process, as we
have tried to point them out, should be
kept in mind. As the question of tone
is simply one of individual taste it may
be found that with some negatives it is
impossible to secure tones pleasing to the
operator. If such is the case some other
type of negative should be used, remem-
bering the remarks under considerations
on the kind of negative suited to the
process.

Some negatives will tend to produce
so-called double toning; that is, the
high-lights are likely to appear pink. No
remedy for this can be found, but it may
not always be objectionable.

Finally, there are several conditions
to be observed in order to secure repro-
ducibility of color from print to print.
The temperature of the developer must
be kept constant if the same time of de-
velopment is to be used. As with every
photographic process, pure chemicals
should be employed, and the solution
should not be kept too long before using.
The prints should be developed in a
liberal quantity of the solution. Al-
though quite a number of prints may be
developed in this amount it should not
be overdone, because the tone is so
dependent on the time of develop-
ment.

As has already been stated the tone is
not due to an oxidation product, but
simply to the state of division of the
silver. Prints made by the method just
described are probably as permanent as
those of any other toning process, as
shown by very severe tests made by
exposure to sunlight for a period of six
months. No difference could be observed
between the shielded and exposed por-
tions of the print.

INDIVIDUALISM

DURING a conversation with one of
the best-known and most suc-
cessful photographers on Fifth
Avenue, the other day, he mentioned
that his dark-room man was leaving
him, and his best printer was on the

sick list, "but that doesn't alarm me,"
said he. "I am as much at home in
the dark-room or printing room as
under the light." The following article
from an old number of the British
Journal of Photography shows that

410

INDIVIDUALISM

individualism and self-reliance are of
first importance in the photographic
business:

These are days of competition, when
the position of the very foremost pro-
fessionals is assailed. Men who ten
or twenty years ago considered them-
selves above competition are now com-
pelled to compete in the race for posi-
tion. This competition has been the
making of some photographers; others,
alas, have fallen by the way.

Workers who a decade ago were con-
sidered clever can today only rank as
good ordinary photographers; they can
turn out good ordinary work, but so can
thousands of others, with the difference
that the others who have not heavy
expenses and large establishments to
keep up can do their work at cheaper
rates. In these days of cheapness, if
a patron can get work of an equal
quality at a lower rate, he will not pay
a bigger price for the pleasure of seeing
some well-known photographer's name
at the foot of his print, and thus these
same workers who ten years ago did
good ordinary work and made it pay
are badly off today, while those who go
in for a specialty and do work out of
the common are sure of retaining their
old patrons and adding considerably to
them as the years roll on.

The "middle" class photographer has
improved his work by leaps and bounds,
and there is no longer the wide chasm
between their work and that of the
front-rank man. They can both take
and finish photographs with skill, but
the one stamps his work with individu-
alism, and the other turns out good
ordinary work. The labor is nearly the
same in each case — the one is little more
costly to work than the other — but the
difference in the payment is a wider
difference than of old. Take the work
of the front-rank man (to name one or
two when so many are worthy of men-
tion would be unfair) ; you can tell at
a glance who the artist is. "Oh, that
is So-and-so's style," you exclaim; but
do you stop to think why you recognize
it as such? You did not require to
look at the name at the foot to trace
the artist; his work tells you. It is, in
fact, individualistic. The same man-

nerisms run through the whole of his
work: a certain pose, lighting, style of
background or of mounting, color of
print, or perhaps a bit of each. No
matter what it is, it is something out of
the ordinary, and that is the whole
secret.

There was never a time in the history
of photography when good work was
more in demand, for the public have
been educated up to a higher standard
than would have satisfied them ten
years ago. They don't want the com-
mon or garden photograph, but an
artistic effort. The old album, with
its places for C.D.V. and cabinets has
been carefully stored in the lumber-
room for the benefit of future genera-
tions, who will no doubt derive con-
siderable amusement from it. There is
no royal road to individualism, though
it can be attained by anyone possessing
artistic feeling if they are willing to
study, and it is a study that will repay
the professional photographer a hun-
dredfold. In fact, I go so far as to say
that no professional photographer can
get on without giving this matter
considerable thought.

It would be foolish to point out the
defect without giving the means of
remedy. This will not be a difficult
task. My advice is to go to the nearest
art gallery and study the old masters;
take one of these for your model, and
see as many of his works as possible.
They will all vary in some particular,
but the same individualism will run
through all. I go so far as to recom-
mend you to have your backgrounds
painted in a similar style to those
used by the artist. You may only
have everyday sitters to photograph,
but that need not deter you from the
work, for you must remember that these
same subjects were everyday people
when the portraits were painted. Fol-
low your artist closely for a little while,
and you will then get the style of work,
after which you will be able to put your
own individualism into your work, thus
making your work after the school of
Gainsborough, Vandyke, Reynolds, etc.,
but from a photographic standpoint of
your own.

A high-class photographer, who has

SIR RABINDRANATH TAGORE
BY C CROWTHER, F.R.P.S.
KOBE, JAPAN

412

FOCAL LENGTH AND PICTORIAL QUALITY

made a moderate fortune out of the
work, gave me the following informa-
tion in reply to my request as to how he
had made his business so successful
in so few years, in face of the bad times
and great competition. "I made up
my mind," said he, "that there was no
room for a photographer who could
only turn out ordinary work at ordinary
prices, so I decided to do something out
of the common, and charge my own
price. But what should I do and how
should I do it? Happy thought! Why
not go to London and see how the old
masters worked? I spent a week in the
National Portrait Gallery, the National
Art Gallery, the Academy, Tate, etc.
This was my first step upward, and
since that week I have spent many
happy hours in the same places, and
have always returned home with new
ideas and higher aspirations. Consid-
ering I worked my business up from
midgets at 4s. 6d. per dozen to its pres-
ent position, I consider my holidays in
the London art galleries my cheapest
outings and greatest help."

I can only recommend my readers to
give this advice a trial, and then I
feel sure we shall hear less of bad trade
and of that very useful and necessary
competition that is so much to the front
at present. What is wanted is better
work. There is plenty of room on top,
but a man will never get there if he
keeps in that same old rut of ten years
ago. That particular rut leads down
hill, and it is time to get out of it.

I will summarize my remarks with a
few hints of what to do and what not to
do.

The ordinary interior and exterior
backgrounds are dead. They have

done their duty; let them rest in peace.
Go in for a special background painted
to your own ideas, and use as few
studio accessories as possible. Change
the whole of your backgrounds as
often as means will allow. Your clients
do not want photographs of balustrades,
steps, or pedestals, but of themselves.
On the other hand, graduated back-
grounds may be good for vignettes, but
do not use them for everything. If
your pocket will not run to a specially
painted background, try a plain white
or black one with a continuous fore-
ground; but have something out of the
ordinary.

Lighting must follow the background.
If you are having your background
painted after Gainsborough, follow his
lighting also. I have seen work by
front-rank men with the sitter beauti-
fully lighted, but in absolute contra-
diction to the background, thus spoiling
the whole effect.

Do not use the easiest printing pro-
cess because it is the easiest, but use
the one that shows off your work to
the best advantage. Every good pho-
tographer should be able to make a
first-class print in sepia and black
platinum and in carbon. Do not leave
yourself too much in the hands of
your printer. Not only should you be
able to tell when a print is well done,
but you should be able to show your
printer how to do it. The printing
room is just as important as the studio,
but how many photographers give it
the attention it should have? There
is as much money made in the print-
ing room as in the studio, but through
want of attention many a photographer
is ruined by the printer's bad work.

FOCAL LENGTH AND PICTORIAL QUALITY

IN order to compare the pictorial
merits of two photographs of the
same subject, taken with two lenses
of different focal lengths, the first
essential is that both should be repro-
duced on the same scale. The effect

of a direct print from a quarter-plate
negative will be very different from
the effect of even a half-plate enlarge-
ment from the same negative. No
comparison can fairly be made between
the direct results obtained by means

By C. CROWTHER. F.R.P.S.

KOBE. JAPAN

414

FOCAL LENGTH AND PICTORIAL QUALITY

of a short focus lens and those pro-
duced by a lens of two or three times
the focal length. Many photographers
now, either from choice or as a matter
of convenience, use a small pocket
camera with correspondingly short focus
lens; but few are content with a direct
print. It is therefore not with the
pictorial qualities of the negative itself
that we are concerned, but with its
capacity for producing artistic results in
the enlarging camera.

In the following notes it must be
kept in mind that the rules laid down
only hold good for results on the same
scale. It is taken for granted that
either the smaller negative is enlarged
from or the larger one reduced, so that
the inherent pictorial properties of the
two can be compared without being
interfered with by arbitrary considera-
tions of size. It is always within the
power of the photographer to make his
finished print on any scale he pleases,
and to include as much or as little of
the subject covered by the original
negative as he thinks desirable.

The focal length of the lens only
determines the size or scale on which
the subject will appear on the negative.
As the latter is merely used as the
source of the final picture, and as this
last can be made on any scale that is
desired, it may be said that the focal
length of the lens has no necessary
connection with the size of the resulting
photograph.

The focal length of the lens can, under
no circumstances, have any effect what-
ever upon the perspective, or upon the
general arrangement and relative sizes
of the different parts of the subject.
All photographs of the same subject,
taken from the same point of view, and
with the lens pointing in the same
direction, have identically the same
perspective, no matter what may be
the focal lengths of the lens. This is
the most elementary of facts, but it is
the one which is most frequently called
in question. The statement that " short
focus lenses give distortion" is made
and emphasized again and again even
in technical handbooks, some of which
are adorned with faked illustrations
showing the distortion "due to the use

of a short focus lens." All such dis-
tortion is due to the error and bad
taste of the photographer in having
brought the camera too close to the
subject he wished to photograph, and
the distortion has no connection what-
ever with the focal length of the lens.

The depth of field, or the degree of
sharpness in planes other than the one
directly focussed on, depends entirely
upon the actual effective diameter of
the stop used, i. e., upon the diameter
of the pencil of light which enters the
lens, and not at all upon the focal
length of the lens. This may seem
obviously incorrect at first sight; yet
common sense is sufficient to teach us
that if two lenses see the same view,
in the same way, they will reproduce
it, and they will see the same view if
the same light, and the same amount
of light, enters them from all points of
the subject. Diffusion of focus in all
planes save one is really a parallax
phenomenon, due to the eye of the lens
being sufficiently wide to look round
the various parts of the subject and
produce a slight stereoscopic effect.
The stop diameter determines the extent
of the parallax; the focal length only
determines the scale on which the
parallax will be rendered on the direct
negative, which is a negligible considera-
tion.

It follows from tbe above that long
focus lenses give greater diffusion of
focus in planes where softness is desired
only in so far as they admit of stops
having larger actual diameter. A curi-
ous result of this is that the removal
of the front component of a double
lens, while increasing the direct scale
of the negative, diminishes rather than
adds to its pictorial quality. For if
the front component is a positive lens,
the pencil of rays which passes through
it is already condensed before it reaches
the stop, and is therefore of larger
diameter than the stop itself. This
advantage disappears when the lens is
removed.

To given an example of comparative
depth of field: There is now on the
market a 3-inch lens having the aston-
ishing aperture of //1.9. The diameter
of the diffusion disks, which determine

THE AUTHOR OF "TIGER-
BY C. CROWTHER. F.R.P.S
KOBE. JAPAN

416

FOCAL LENGTH AND PICTORIAL QUALITY

depth of field, given by this lens at
full aperture, will be the same as that
given by a 7-inch lens working at//4.5,
when both photographs are reproduced
on the same scale. For most purposes
this is an inconveniently large amount
of diffusion. A lens of such large
aperture can hardly be expected to have
the same high degree of optical correc-
tion or the same covering power as one
working at f/5.6 or //6.8, either of
which in the 3j-inch size gives all the
diffusion that is generally required.

In ordinary work, where short expo-
sures are necessary and extreme diffu-
sion of focus is undesirable, short focus
lenses have the great advantage that a
stop of large / value, i. e., of great
rapidity, can be used without unduly
blurring or softening the details at
varying distances. For any desired
degree of uniformity of definition over
the whole field, the rule is that the /
number of the stop used must be pro-
portionate to the focal length of the
lens. This follows directly from the
above considerations as to comparative
depth of field. A lens of 3|-inch focus
at//5.6 will correspond to a 7-inch lens
at//ll, because the actual stop diameter
will then be the same in both cases.
The time of exposure, therefore, varies
directly as the square of the focal
length. A lens of half the focal length
of another can thus be used with a stop
only requiring one-quarter the exposure
which must be given with the longer
focus lens to secure the same result.
This is particularly useful in the photog-
raphy of dark interiors, where expo-
sure with a stop of small rapidity would
be tedious. With a high rapidity stop
it also becomes possible to use a light
color screen when taking snapshots of
suitable, well-lit subjects.

For lenses constructed on the same
optical formula the amount of view
which can be included is the same, no
matter whether the lens be of short or
long focus. For instance, a lens of
certain make may be listed to cover an
angle of 60° at full aperture, and an
angle of 90° when stopped down, and
this will apply to the whole range of
lenses so listed. But it is almost
invariably assumed by those who object

to the use of short focus lenses that
short focus work means wide angle
work, even when the subject demands a
narrow angle of view, and that violent
perspective, or distortion, must there-
fore appear in all such results. This
is a quite inaccurate and misleading
supposition. The worker with a 3-inch
lens may adopt such a small plate that
he will only be in a position to obtain
narrow angle results. Or he may use a
slightly larger plate giving the more
generally useful medium angle. Or he
may mount the lens in a camera which
permits the whole angle of view covered
by the lens to be recorded. The advan-
tage of a small short focus lens is that
it allows the use of the relatively larger
plate without materially increasing the
bulk or weight of the apparatus, and in
the many cases where wide angle work
is necessary the lens and camera are
ready for it without any alteration or
adjustment whatever. No photog-
rapher, who has limited himself to
narrow angle work, by the type of
apparatus he adopts, can fail to regret
occasionally his inability to take some
attractive subject requiring a wide
angle when such a subject presents
itself. A most useful combination is a
lens mounted in a camera which uses a
plate or film whose longest side is equal
to the focal length of the lens, say, a
3|-inch lens mounted in a 3| by 2\
camera. But whether the large or the
small plate be used, the narrow angle
subject will always be on the plate, and
when the enlargement comes to be
made the operator can choose only those
parts of the negative which will give
exactly the composition and perspective
he wished to obtain. In other words,
the focal length of the lens has nothing
whatever to do with the particular view
angle included by the resultant photo-
graph, but the adoption of a short
focus lens used on a relatively large
plate makes it possible to do all kinds
of work, from extreme narrow angle to
comparatively wide angle, with the same
facility, and without any trouble or
delay in setting up new apparatus or
changing the lens.

In this one point, halation, alone
there is a danger that the work of the

By c. crowther, f.r.p.s.

KOBE. JAPAN

418

FOCAL LENGTH AND PICTORIAL QUALITY

short focus lens may show inferiority to
that of the lens of long focus. This
applies equally whether it is the result
of reflected light from the back of the
plate or of radiation in the substance of
the film itself. Say, for instance, that
. the subject to be photographed includes
some bare branches of trees against a
bright sky, and that the stop used is
//8. The area of the image of the sky
made by a short focus lens will be less
than that made by one of longer focus,
but the intrinsic brightness of the
image, i. e., its brightness per unit area,
will be the same in both cases, and the
tendency to halation will therefore be
the same. The direct amount of hala-
tion, if it is allowed to occur at all, will
be equal, and when the smaller nega-
tive is enlarged the halation on the
resultant photograph will be greater
than that given by the longer focus
lens. Again, the image of the tree
branches will be thinner and more
thread-like in the smaller than in the
large negative, and will offer less resis-
tance to the effects of halation. The
image may therefore be completely
halated away in the one case, where
in the other it will only be more or less
blurred. Curiously enough, the first
favorable reference I ever saw in a
photographic paper to the work of short
focus lenses was to the effect that they
give less halation, ''because the points of
light are smaller." It is only stellar pho-
tography that is concerned with points of
light. Ordinary photography deals with
light areas, and the size of these areas,
unless microscopically small, does not
affect halation. Dr. Mees has shown
that even in microscopic work halation
is a serious factor. In actual practice,
however, halation does not often show
itself. If backed plates are used a
whole holiday may be spent in com-
pany with a 3-inch lens without a single
negative being injured from this cause.
It seems to be the one poor advantage
indisputably attached to the much-
praised long focus lens that it is less

liable to err in this respect, and it is
proper that it should get credit for it.

Some general considerations may be
added here. If it is desired to preserve
the useful properties of short focus
lenses in actual practice, it is, in the
first place, necessary that there should
be critically accurate registration of the
plate in the focal plane, and a critically
accurate and accurately placed focus-
sing scale. With a good lens of modern
make it may be taken for granted that
the true infinity distance has not been
found unless it is possible to read clearly
words composed of letters each of
which is less than ^\q inch in diameter,
on a negative taken with the full aper-
ture of the lens. Fine definition such
as this may not be always required,
but it is imperative that it should be
obtained with certainty when wanted.
And the same accuracy should also be
possible when focussing on lesser dis-
tances. All defects of focus will, of
course, be increased when the negative
is enlarged from. This critical defini-
tion cannot be got by the use of a
focussing screen, but it is secured with-
out the slightest difficulty or uncer-
tainty once a correct and sufficient
focussing scale is fixed in proper posi-
tion. The adoption of a fixed hyper-
focal distance in cameras with short
focus lenses in order "to avoid having
to worry about a focussing scale" is a
most unscientific and inartistic method,
and the results are certain not to
satisfy the serious worker. The hyper-
focal distance is only true for the direct
results of the lens, it is only true for
one lens aperture, and its usual standard
of sharpness (t^q- of an inch) is very low.
No illustrations to this article are
needed. For proof of the general posi-
tion advanced it is only necessary to
visit any good cinematograph theatre.
We may there see large-scale photo-
graphs of admirable pictorial quality,
taken for the most part with lenses of
the shortest focus. — British Journal of
Photography.

BY THE BACHRACH STUDIO

IALTIMORE. MD.

TWO NEW COLOR SENSITIZERS

By ALFRED B. HITCHINS, Ph.D., F.R.P.S., F.C.S.

FOR the past two years it has been
practically impossible to obtain
Pinaverdol or Pinacyanol, the two
dyes hitherto used for green and red
sensitizing and in conjunction with
other dyes for panchromatizing.
Recently Professor W. J. Pope, of the
Chemical Laboratory of the University
of Cambridge, England, has produced
two dyes, "Sensitol Green" and "Sensi-
tol Red," that are intended to replace
Pinaverdol and Pinacyanol. Samples of
these new dyes were obtained through
the kindness of Mr. F. F. Renwick, of
the Word Dry Plate Works, Ilford,
London, who are marketing the dyes.
Sensitol Green and Red are stated to
be of the same chemical composition
as Pinaverdol and Pinacyanol. Pina-
verdol is p-Toluquinaldinquinolinium-
methylcyaninbromide. Pinacyanol is
not a true isocyanin, but is the result
of the action of alkali on a solution of
quinaldinium salts to which formalde-
hyde has been added.

In making the series of tests of the
sensitizing properties of Sensitol Green
and Red, Hammer "Record" plates
were bathed in alcoholic and aqueous
solutions of the dyes as follows:

Distilled water . 500
Methyl alcohol . 250
Stock dye solution 10
Stock dye solution =
c.c. of alcohol.

Alcoholic.
Red. Green.

C.c.
500

250

Red.
C.c.

500

Aqueous.

Green.
C.c.

500

.5-10

1 gram of dye in 1000

The time of bathing for all the plates
was three and a half minutes at 65° F.
Plates from the aqueous bath were
washed for three minutes previous to
drying; from the alcoholic bath dried
without washing. Spectrophotographs
were made on the plates resulting from
the various methods of bathing. A
Hilger diffraction grating spectograph
was used with Nernst light and a slit
0.09 mm. The results are shown in the
accompanying figure.

(419)

420

TWO NEW COLOR SENSITIZERS

No. 1 shows the color sensitiveness
curve of the undyed Hammer "Record"
plate. This curve is characteristic of
non-color-sensitive emulsions. The
maximum is in the blue and there is no
yellow, orange or red sensitiveness.

No. 2 shows the sensitiveness conferred
by Sensitol Green in alcoholic solution.

No. 3 is the result of Sensitol Green
in aqueous solution. It is apparent that
Sensitol Green is an excellent green
sensitizer. It confers great sensitiveness
to the whole of the blue-green, yellow-
green, and yellow, and extends its action
into the orange-red. It is equal in every
way to Pinaverdol.

Nos. 4 and 5 show the action of Sen-
sitol Red in alcoholic and aqueous
solutions. Sensitol Red has the pro-
perty of strongly sensitizing for red,
orange, and bright (yellowish) green.
Although it appears to sensitize for
the blue-green a little more than Pina-
cyanol, yet there is but a feeble action
and a safe light emitting only blue-
green between wave-length 5000-5200
can be used. Sensitol Red is a better
red sensitizer than Pinacyanol.

No. 6 is the result of bathing in a
mixture of alcoholic solutions of Sen-
sitol Green and Red, as follows:

Distilled water 500 c.c.

Methyl alcohol .... 250 c.c.
Sensitol Red stock solution . 10 c.c.
Sensitol Green stock solution 14 c.c.
Bathed three and a half minutes; dried without
washing.

There is an increased red sensitiveness
due to the combination of the dyes, and
the gap in the blue green is well filled in.
Some of the plates thus panchromatized
were used upon colored objects under the
usual conditions of panchromatic pho-
tography, and gave most satisfactory
results.

Nos. 7 and 8 show the absorptions of
the two dyes. A series of Hurter and
Driffield speed determinations were
made of the plates treated in the
different baths and also of the undyed
plates, the data obtained are shown in
the table below.

Both Sensitol Green and Sensitol Red
increase fog, the Red having the greater
effect.

The development factor is raised with
Sensitol Green and lowered with Sensitol
Red, a combination of the two dyes
also raises the development factor.

The original speed of the "Record"
plate was 117 H and D. Sensitol Green
reduced it to 94; Sensitol Red cut the
speed to 62; bathing in the panchro-
matizing solution, composed of the two
dyes, reduced the speed to 53.

A number of the plates bathed in
Sensitol Green and Red were tested for
chroma. This gives a more or less
quantitative expression of the sensi-
tizing property of a dye. It is deter-
mined by exposing two strips of the
plate in the Hurter and Driffield
machine, one through a yellow filter,
the other through a blue filter. The
developed strips are read as usual on a
photometer and the curves plotted on
the ordinary H and D chart then the
ratio

Yellow inertia _ Blue sensitiveness
Blue inertia Yellow sensitiveness

Chromo = X

The following values for x were
obtained.

Plate bathed in Sensitol Green . 2 . 20
Plate bathed in Sensitol Red . 1 .91
The lower the value of chroma the higher the
color sensitiveness.

Bath.

Not bathed
Aqueous sensitol

green
Aqueous sensitol

red
Panchro bath

Fog,
3 minutes.

0.068
0.12

0.13

0.15

Development Development
Fog, factor, factor,

6 minutes. 3 minutes. 6 minutes. Inertia.

0 1 0.67 1.19 0.29

0.222 0.83 1.23 0.36

0.23
0.24

0.47
0.97

0.95
1.38

0.55
0.64

Speed.

117
94

Developed in absolute darkness in H. and D. standard pyro-soda without bromide. Temperature,
65 ° F. Exposed 40 C.M.S. to screened acetylene.

TWO NEW COLOR SENSITIZERS

421

1. Undyed Plate

Hammer "Record'

2. Sensitol Green

Alcoholic bath, tooo o
Bathed 3 \ minutes at 65° F,

3. Sensitol Green

Aqueous bath, 7TT<nro

Bathed 3| minutes at 65° F.

4. Sensitol Red

Alcoholic bath, V5^o0
Bathed 3\ minutes at 65° F.

5. Sensitol Red

Aqueous bath, g^oo

Bathed 3| minutes at 65° F.

6. Panchromatic Bath

Sensitol Red, j^-^
Sensitol Green, ?oooo
Bathed 3§ minutes at 65° F.

7. Sensitol Green

To1,,,, absorption

8. Sensitol Red

ToW absorption

422

MODERN METHODS OF CARBON PRINTING

In connection with the above-de-
scribed Hurter and Driffield tests it was
found that the alcoholic dye baths gave
a little less fog, but that the other
factors were affected almost equally in
either the alcoholic or aqueous baths.
Neither of the dyes keep very well in
aqueous solution but keep very well
indeed when made up with alcohol and
kept from the light. Either Sensitol
Green or Red can be used for sensitiz-

ing collodion emulsion; with Sensitol
Red 1 part of stock dye solution is
used to every 100 to 200 parts of
emulsion. With Sensitol Green use 85
cm. of stock dye solution to every 1000
cm. of emulsion.

From a general survey of the results
obtained it is evident that in Sensitol
Green and Red we have two excellent
sensitizers that are the equal in every
way to Pinaverdol and Pinacyanol.

MODERN METHODS OF CARBON PRINTING

ONE of the methods of getting better
prices is to produce good work by
an unusual process. The carbon
process offers an attractive medium. It
is absolutely permanent, offers a variety
of tones, and is simple to work. Mr. E.
Grendon Underwood gives, in The
Amateur Photographer, a clear, concise
method of working the process that is
well worth trying:

Some modifications introduced of late
years into the practice of carbon print-
ing have considerably simplified it, and
anyone who will take the trouble to
understand and master the few and
simple requirements of the process will
be amply repaid by the results. It has,
unfortunately, acquired the reputation
of being a tricky process, but this tricki-
ness is entirely the result of neglecting
its primary requirements. If these are
complied with, there is no trickiness,
and it is in mitigation of the stringency
of these requirements that the above-
mentioned modifications have reference.
Its advantages of permanence, purity,
and certainty of color, absence of chem-
icals, and much washing need no en-
larging upon; it is its shortcomings,
looked at from the busy worker's point
of view, which claim attention. The
points which need this attention are as
follows :

1. Keeping the sensitized tissue before
using.

2. The printing or exposure being
"blind" process.

3. Keeping after exposure.

It will be noticed that two out of the
three points refer to the keeping, or
rather the non-keeping, properties of
the tissue, and with a little care we can
practically eliminate this trouble. It
will, however, be best to go through the
process from the beginning, and eluci-
date the several points as we come to
them.

The tissue, in certain standard colors,
may be had from the manufactures in a
sensitized state, ready for exposure. Or
it may be had in the insensitive state,
requiring to be sensitized, the choice of
color in this state being much greater,
as it will keep thus indefinitely without
any special precautions, and can be sen-
sitized at any time.

For sensitizing, the following solu-
tion, a modification of Mr. Bennett's, is
recommended. It has the advantage
over the old 5 per cent, ammoniated
potassium bichromate of enabling the
tissue to be kept under ordinary con-
ditions for a much longer period:

Potassium bichromate
Water (hot) . . .

6 drams
15 oz.

When dissolved and cooled, place in
a white dish, and cautiously drop in
ammonia liquor fortis till the color is
changed to a light lemon. Any small
excess of ammonia will pass off if left
in the dish for a time. Now take

Citric acid 90 gr.

Water (hot) 10 oz.

MODERN METHODS OF CARBON PRINTING

423

This has to be neutralized by ammonia
in the same way, but as there is no
change of color in this case, the test is
made by what has been described as the
best test for ammonia, viz., the nose.
Add a few drops of the ammonia, and
stir well; if there is no smell of the am-
monia, it has been absorbed by the acid,
and a few more drops may be added,
and so on, till there is just a slight per-
manent odor. Mix the two solutions,
and when quite cold it is ready for use
and may be used repeatedly, being all
the better for an occasional filtration.

Pour the sensitizing solution into a
dish, and immerse the tissue in it for
about two and a half minutes, taking
care to remove any air bubbles from the
surface, and keeping all parts under.
Take it out of the liquid by one end, and
lay it, face downward, on a piece of
ferrotype plate or ebonite somewhat
larger than itself, commencing at one
end, so as to drive air and liquid before
it. Drain off the superfluous solution,
lightly squeegee, and wipe over with a
cloth or sponge. This may be done in
daylight, as the tissue when wet is insen-
sitive, becoming sensitive to light as
it dries. A very subdued daylight only
must therefore be allowed to fall upon
it; ordinary artificial lights have no
effect. It must be dry enough to strip
readily from the plate in five or six
hours; if it takes much longer it will be
insoluble and useless. It may be dried
in a few minutes if desired by immersion
for five or ten minutes in a bath of
Columbian spirits. This absorbs most
of the water, and it may be finished by
warmth if necessary, but it should not
be made bone dry, or it will print very
slowly. If it is to be kept any length of
time, it is a good plan, before stripping
it from the support, to pencil the date
on the back. Tissue thus sensitized will
continue in good condition, if kept ordi-
narily dry, for two or three weeks, as
will that bought ready sensitized. If it
is made quite dry, and packed flat under
pressure in a box from which damp is
excluded by means of rubber, or in
which some calcium chloride is kept to
absorb moisture, it will keep for six
months or more. A certain amount of
moisture in the film is necessary for

printing, and, thus kept, it will require
an hour or two (more will not hurt)
in an ordinary atmosphere, or a few
minutes in a cellar will fit it for use.

For the printing, the negative has to
be provided with what is called a safe
edge, the object of which is to retain
a soluble margin by protecting it from
the action of light. This may be a strip
of opaque paper, a quarter of an inch
wide, fixed all round the negative on
the glass side. If the printing frame is
larger than the negative, with a separate
glass in it, as all printing frames should
be, then a convenient form may be
made by placing in it a piece of paper
the full size of the frame, with an open-
ing in the middle a quarter of an inch
smaller than the negative. The nega-
tive is simply placed centrally on it, the
pigment side of the carbon tissue on it,
and the frame closed. Those parts of
the tissue which are acted upon by the
light passing through the negative, and
which would in a silver print become
dark, are rendered insoluble; while the
parts which are protected from light in
varying degree by the denser portions of
the negative, retain their solubility in
warm water. We don't have to exam-
ine it during printing, as no change can
be seen. This being so, we have to
place beside it during the printing some
arrangement by which we can have a
visible image, and so measure the light
action. A simple way of doing this is
to take another negative of the same
density and color and place a small piece
of P. O. P. behind a fairly dense part of
this having detail in it. When the
P. O. P. is almost sufficiently printed it
may be taken as a sufficient exposure.
This, of course, involves matching every
negative, and many prefer to use an
actinometer. This may easily be made
with a cleaned-off quarter-plate and
some white tissue paper. Take a strip
of the paper, 4 in. by 1 in. Stick this
on to the glass by gumming down each
edge. On this fix another similar strip,
but a quarter of an inch shorter, and
then other strips, each one a quarter of
an inch shorter than the last. At one
end they are all placed level, and thus
we have a graduated series of fifteen
thicknesses of paper. Then with a

424

MODERN METHODS OF CARBON PRINTING

small brush and some Indian ink write 1
(backward) on the single thickness, 2
on the second, and so on up to the 15.
This is used by placing a strip of P. O. P.
behind it in a printing frame, another
piece behind a fairly dense part of the
negative to be printed from, and expos-
ing the two together. When the P. O. P.
behind the negative shows a rather
light print, it may be considered suffi-
cient, and the highest number showing
on the actinometer is its measure. This
number it is convenient to mark on the
edge or rebate of the negative, or the
actinometer strip may be kept with
the name of the negative penciled on
the back.

We now come to the development of
the print, which brings us to a point
where a few words must be said about
what is called the continuing action.
The meaning of this is that, when the
action of light on bichromated gelatin
has once started the change which ren-
ders it insoluble, this change will con-
tinue to go on, even without any light
action, until the whole has become
insoluble. From a consideration of this
fact it is obvious that, the printing once
completed, the change thus set up must
be arrested. The usual way to do this
is to develop the print at once, but it is
often more convenient to adopt the
latter-day method of removing the
unaltered bichromate from the film by
washing it out. If the tissue, as taken
from the printing frame, is placed in
cold water for five minutes or so, a con-
siderable proportion will dissolve out.
A swilling with fresh water and two or
three more soakings will entirely elimi-
nate it, which will be evidenced by the
paper backing becoming white again.
It may now be squeegeed down and
dried anywhere. Development can be
postponed till convenient, and no special
precautions in storing are necessary.

Development may also be deferred
by making bone dry and storing as
described before printing. The actual
operation of development is that of
washing away with warm water the
surplus material, gelatin and color,
which has not been rendered insoluble
and is therefore not required in the
finished print. This washing-away de-

velopment has to be done from the
back of the tissue, for the reason that
the lighter parts of the print are formed
on its surface, next to the negative,
the gelatin being made insoluble right
through only in the darkest parts of
the print. Consequently, if the tissue
is placed in warm water, these lighter
parts will be carried away by the soluble
gelatin supporting them being dissolved.
We have, therefore, to squeegee the
tissue on to some support, permanent
or temporary, in order that we may
work from the back. The most con-
venient support is a piece of smoothed
opal glass, which has a surface similar
to ground glass. This must be thor-
oughly cleaned and waxed over with
the following:

Turpentine 1 oz.

Paraffin wax 10 gr.

Make a small pad of old cotton or linen
cloth, such as an old pocket handker-
chief, of six or eight thicknesses and an
inch or so square. With this smear the
surface of the opal lightly and uniformly
over with the wax solution. It takes
very little, a mere film being all that is
required, but care must be exercised that
no parts are missed. In a quarter of an
hour or so it will be ready for use. Now
have a dish of clean cold water, with the
opal beside it on the table. Place the
exposed tissue in the water, surface up,
and pass a camel-hair brush over it to
remove air bubbles, etc. It must now
be closely watched; at first it will curl
up inward, owing to the paper backing
absorbing water quicker than the gela-
tin. In a very short time, from thirty
to sixty seconds, it will begin to flatten
out again, when it must at once be lifted
out by one end, the other end laid on
the opal and lowered into place, driving
air and water before it. If it is left too
long in the water, the gelatin, continuing
to absorb it, becomes swelled and larger
than the paper backing, and it will be
impossible to make it adhere to the opal.
Quickly tip the surplus water off, and
squeegee down firmly, but not hard.
Wipe off with a cloth, and place on it a
few thicknesses of blotting-paper, an
old negative, and a weight, nothing very
great being required. Ten minutes or

MODERN METHODS OF CARBON PRINTING

425

so of this will be sufficient, and it is then
placed in a good-sized tray of warm
water, of a temperature of 100° to 120°.
If the exposure has been anything like
right the color will soon begin to ooze
out round the edges, which have been
kept soluble by the safe-edge. This
would be, perhaps, a minute, often
more, but there is no need to hurry
with this part of the process. When
the color is coming out freely, lift the
backing by one corner, and pull it
gently and steadily off. If the color
fails to show in a few minutes, hotter
water must be used ; if this is ineffective
in, say, ten minutes, the gelatin will
have become insoluble. This may be
due to over-exposure, to defective keep-
ing in the sensitive state, or to the
drying after sensitizing being too pro-
longed. In the case of tissue purchased
ready sensitized, this last will not be
one of the causes. It may now be
rocked about in the water, or one end
raised and the water laved over with
the hand to complete the development.
This takes some few minutes, and can-
not be hurried. If the color comes off
very quickly it is underexposed, and
cooler water may save it. If, on the
other hand, it is very slow, overexposure
is indicated, and hotter water must be
used. There is a considerable amount
of latitude of exposure in the process
in this way, but if the water is very
hot, approaching the boiling-point, there
is risk of breaking the film, which is very
delicate at this stage.

The image should be made just a
shade light in the development, as, when
dry and transferred to the final support,
it gains in strength a little. The desired
stage being reached, give a slight wash
in cold water, and immerse for ten
minutes in an alum bath, say 10 per
cent., but the exact strength is imma-
terial. After this give another small
wash, to remove the alum, and set up to
dry. All we have to do now is to trans-
fer the print to its final support, which
is a very simple operation if carried out
as follows: This final support is a
gelatin-surface prepared paper obtain-
able of the tissue manufacturers, and a
piece an inch larger each way than the
print is required. Place this in a dish

of clean cold water, and brush the sur-
face over with the camel-hair, then
place the opal in warm water, 90° to
100°, and leave for five minutes. Now
take the opal out, drain off slightly, and
place close to the other dish. Turn the
final support over, face downward, in the
water, and lift out by one end. Place
the other end on the opal, half an inch
from the picture, a finger and thumb on
this, and gently let down. Now, before
removing finger and thumb, take the
squeegee and make three or four very
light strokes along the opal with it.
If this precaution is not observed, the
support may slip and damage the print.
After this, squeegee fairly vigorously in
different directions, and set up to dry.
When quite dry, if the waxing process
has been properly done, it will shell off
readily.

Some workers make a trouble of this
transferring, but once understood there
is no difficulty whatever in it. It has
its advantages, too, one of which, the
facility with which clouds may be added
to a landscape, it may be as well to
describe in detail. We will take it that
the print just developed is such a sub-
ject, and that the sky portion is, as
sometimes happens, somewhat degraded,
so that clouds cannot be printed on in
their true value. This being so, before
we finish off the development we take
a camel-hair brush and with this gently
remove the film left on the sky portion.
This requires careful doing against the
sky-line and in spaces between trees,
but such spaces may generally be left
as they are. Now alum bath, finish,
and dry as already described. The
next thing to do is to make a mask of
thin paper to cover up the parts of the
print where the clouds are not required.
This is best done by placing paper and
negative against the window and mark-
ing the sky-line with a pointed pencil.
The paper must then be cut carefully
along the sky-line. Trees that stand
above the sky-line may be neglected,
making the cut along any solid part.
We now proceed to take a carbon print
off a suitable negative, and this has
to be squeegeed and developed on the
sky portion of our landscape. Before
doing this, however, the mask is lightly

426

THE PHOTOGRAPHERS' CREED

gummed round the edges, or rather
along the sky-line, and placed in posi-
tion on the opal. Thus it protects the
landscape from the cloud tissue, and
washes off during development. The
mask should not be gummed on before
and allowed to dry, as there is risk of its
pulling off a portion of the image. If
the clouds thus placed are not satis-
factory they may be removed with the
brush and a fresh start made. The
transfer is, of course, as already
described.

The method of measuring-up carbon
printing by means of P. O. P. is but
approximate, and not always satisfac-
tory. The two processes are essentially
different, and the effect of moisture and
the continuing action in the carbon
may be such as to throw the results
troublesomely far apart. If a carbon
print be made in dry summer weather
up to a certain actinometer number in
P. O. P., and a similar one made in dull,
damp weather, the first will be under-
exposed and the latter much overex-

posed. This may, or may not, be
remedied by varying the temperature
of the water in development, but this is
troublesome and uncertain.

In my own practice I prefer to measure
the change which takes place in the
carbon tissue by observing the effect of
the light action on a similar piece of
bichromated gelatin minus the color
which is incorporated in the tissue.
The darkening is not great, but it is
sufficient if used behind a negative of
similar density and color as described
with the P. O. P. In the final support
we have a suitable material, and I take
a piece of this, 3 in. by 1 in., and sensi-
tize with each piece of carbon tissue.
This is dried with and kept with the
tissue itself, and, being subject to and
amenable to the same conditions and
changes as the tissue, shows much more
nearly the invisible changes which are
taking place in the print. The printing
on this should be carried far enough to
show the detail clearly in a fairly dense
part.

THE PHOTOGRAPHERS' CREED

WE believe that this is a just world
and that even photographers will
get all they deserve."

"We believe that photography is a
science and the practice of it an art
worthy of our best thought and effort.

"Give us time to study hard and the
leisure for quiet thought, and open mind
toward the wisdom of seasoned experi-
ence, and a ready ear that we may hear
the heart-beats of our patrons.

"Protect us from the cant of the
unfailing system, from the temptation
to knock the work or character of
another, and from the necessity of
advocating damnably bad photographs

at low prices in preference to good
work at fair prices.

"Give us charity, good cheer, and
a minute or so for the beginner and
the plodder while practising at all
times the noble art of minding our
own business.

"Give us strength to be boosters
always — kickers never — and that we
may always play the game like gentle-
men.

"And in the end, may God protect
us from the belief that we are superior
in knowledge or performance to our
brothers, and find us a place in the
sacred city of our ideals."

TURNING THE TABLE

BY removing the Editor's Table to
a more remote corner of our
sanctum, several months ago, we
did so with a desire solely to utilize
this space for what we considered more
important material ; but apparently this
change was not so acceptable to our
readers, and we have since had many
requests to resume this department, so
we take pleasure in again appearing in
an "outward visible form, " although the
same editorial expression and direction
have been in evidence.

The Journal in its long career has
always reflected a true and complete
record of photography in America —
artistic, technical, and commercial —
which we mean to maintain as repre-
sentative and authoritative, but we also
desire very much to make this magazine
more your magazine, full of art inspira-
tion, and yet possessing the practical
information that will produce more value
and greater satisfaction to every reader.

The Journal, therefore, seeks the
practical cooperation of progressive
photographers everywhere. It is edited
and published to help the progressive
— the earnest, ambituous worker. Its
pages contain information and illustra-
tions selected for this one end — to help
make easy and certain the progress of those
who aspire to perfect photography.

The editors are determined that this
magazine shall continue to fulfil its
purpose — increasing and extending its

usefulness for the practical photog-
rapher.

We would call the attention of
every reader to the new features in
this issue and we have already in hand
several new series of articles which will
add freshness and vigor to the contents
and which are in the line of advance-
ment— to make the best progress we
need the cooperation of our readers.
Will you think about it and suggest:

Some plan for a single feature, or
article, or series of articles, or subject
which will add to the interest or the
helpfulness of this magazine for you.

How it can be made more attractive
and valuable to you.

We want to hear what you think of
what we print.

We are not unaware of the value of
criticism and will always welcome any
expression. This friendly and interested
service cannot, we know, be secured by
offer of payment, but for any suggestion
we use we shall return what we believe
will be an acceptable honorarium.

YOUR OPPORTUNITY

IF ever there was a time when the
photographer could reasonably
expect greater success to follow
legitimate enterprise, that time, it seems
to us, is at hand. Although every
business in the land must adjust itself
to this new era of trials and problems
and stern economic conditions, photog-

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428

EDITOR'S TABLE

raphy is playing a larger and more
important part in every phase of under-
taking than ever before — and presenting
larger opportunities.

We want every photographer to realize
this opportunity and to make the most
of it for himself. It is a matter of
infinitely more importance than any
question presented at the conventions,
and deserves the earnest consideration
of all engaged in photography as a
business.

Professional photography has seen some
wonderful changes during the past few
years, in methods as well as in results.
It has advanced in all directions, and the
public is fully informed of these advances
and is appreciative of their value. Pho-
tographers, too, have not escaped the ten-
dency toward " reform," and the ''new
blood" brings with it new hope and
power.

Formerly, a photographer pushed his
way to success by slow and patient
effort, consuming years in his develop-
ment. The times are changed ; the man
who was unknown but yesterday is
known everywhere today ; his patronage
grows with incomprehensible rapidity,
and his prices fill his forerunners with
envy.

The great question is: How shall he
grasp the opportunity which seems to be
within reach? It is a question which
must be answered by each one for himself
after a careful survey of the conditions
affecting his business. What will succeed
here will not meet the requirements there.
Much depends on the location of the
studio; much upon the ability of the man

behind the business; but, most of all,
success will depend upon intelligent enter-
prise.

Look over your business; simplify it;
weed out the rubbish in ideas and equip-
ment ; put it into such a shape that it will
everywhere respond to the new enterprise
you are to infuse into it. Look over your
field of patronage and measure its possi-
bilities. Is there room for a radical
departure in styles of work and prices, or
will the pushing of good straight photog-
raphy win most favor? Is there an
opening for advertising of which you
have not availed yourself in the past?
Are there leaks in your present system
of business which practically keep your
nose on the grindstone all the time?
Are your employes fully in touch with
your ideas, and do they cooperate?
Would not a capable business woman be
more profitable in your reception-room,
than the girl who now keeps the place
tidy, meets customers, and fills her odd
moments with retouching? Is not the
time favorable for sorting out likely
duplicate orders from your negative
stock? Would not a good, persuasive
booklet distributed in your locality be a
profitable advertisement for the opening
season? Can you not arrange a small but
attractive exhibition of good portraiture
in your rooms and throw them open to
your patrons and neighbors by invitation?

These questions might be multiplied
many times. We suggest them simply to
open up new ideas and thoughts — to
awaken enterprise. This opportunity for
profit will bring most to those who are
best prepared for it.

PRACTICAL PAPERS ON STUDIO WORK AND METHODS

The People You Photograph

One of the first things every photographer
learns is to overcome physical defects which are
common to all types of sitters. Very little
studio experience is needed to teach the pho-
tographer how to avoid giving prominence to
such facial defects as crooked noses, squinting
eyes, etc.

Few sitters are entirely free from such defects
and many ask to have the right or left side of
the face towards the camera to avoid them. In
nearly every case the photographer will notice
some feature that is not quite as it should be, or
see some skin marking that detracts from the
beauty of the face.

These drawbacks are met with in all types
and quite often one is compelled to use a pose
and a lighting which he knows are unsuited to
the type but which are the only ones possible
to hide some little defects. Furthermore, a
sitter may be of a type best suited for a profile
or a three-quarter face picture, but her eyes
may be so full of expression that it will be better
to make the most of them, even if the pose is
not the best for the other features. No defi-
nite and unalterable laws can be made that will
apply to every sitter. General principles and
their application to recognized types, however,
can be discussed with profit.

Some sitters are very disappointing. There
is the woman, for instance, who comes into the
studio all smiles. Her features are not classi-
cal, but her happy, lively expression gives her
a charm which makes up for any imperfection
in the outline of her face. She is dressed with
perfect taste, and, while she chats with you, you
feel sure that you will get some real snappy-
looking pictures — especially when she tells you
that she leaves the pose and style entirely to
you.

Once she gets in front of the camera, however,
she is not the same woman. She becomes seri-
ous and self-conscious, and all the animation
goes from her face. You then realize that her
principal charm has gone, and that, unless you

can call back the liveliness into her expression,
your pictures will be useless. What are you
going to do when a sitter of this type comes in?

Expression is everything. You must be pre-
pared to sacrifice much that you would like in
posing and lighting for the sake of expression.
A cold, lifeless map of this woman's face, how-
ever cleverly the head might be posed and
lighted, would not be a portrait. She is a tanta-
lizing sitter, and you must use your tact and
patience, a great deal more than your knowl-
edge of light and shade, to get a satisfactory
picture of her.

Do not waste plates at the beginning of the
sitting — make some exposures, but let them be
"mahogany types." You will find that after a
few "exposures" the sitter gradually gets used
to being photographed, and her self-conscious-
ness grows less apparent. Aim at getting a full,
or nearly full, face position. This will help you
to make use of the eyes and mouth, the features
upon which so much of the expression of a face
depends.

The following method has often been success-
ful. Ask the sitter to stand or sit with her body
and head turned well away from the camera,
but not to a profile position. Then get her to
look at a book, or draw her attention to some-
thing in front of her, such as a picture on the
wall. While she is in this position stand beside
the camera and ask a question on some subject
which you have not been talking about, and one
that has no relation to photography. Most
likely she will turn her head towards you before
answering. This will give you a chance to expose
a plate. The pose itself suggests alertness, and
the new topic suddenly introduced is almost
certain to give animation to the features.

There are many sitters like this — and they
are the most difficult class to photograph suc-
cessfully. They are charming, but when you
try to define their charms you find yourself in
difficulties. It may be that they are of a lively,
happy disposition, that their smile suggests
kindness and good nature, or that their carriage
is graceful and dignified — it may be one or all

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430

THE STUDIO

of these, or it may be something more subtle
and elusive than any of them. If the charms are
difficult to define, how much more difficult must
it be to reproduce them in your portraits? The
more you overcome the difficulty the higher
you will raise the quality of your work. The
successful portrait photographer is always a keen
observer of faces and a student of human
character. — Photo Digest.

Active Preparation

You do photographic work and you have
photographs to sell. The trouble with the times
is that the people do not seem to want as many
pictures as we have the desire to supply them
with. And yet it seems that there are some gal-
leries that are quite busy, while there are many
others that complain that there is little or nothing
doing, all of which would indicate that there
must be some decided differences either in the
personalities or the local conditions. While it
does make some difference as to the nature of
these causes, what is of greater moment is a
little discussion of what might be done to change
the conditions.

In reading over a pamphlet of an expert adver-
tising concern we found an article that discussed
the matter of advertising at long range and indi-
cated a few of the cardinal principles that under-
lie all effort to get business and hold it. With
the big industries these principles are made the
foundation of systematic study, and the cam-
paigns are planned to fit the individual require-
ments through methods selected by the various
courses of reasoning. Each one goes about it in
a different way, and the only measure of the
virtue of each method is the success that is
obtained.

The fundamental necessity of some form of
advertising is the fact that the public will not
buy of a certain firm unless it knows that the
firm carries the goods it wants. Furthermore,
no matter how honest the business man may be,
and no matter how excellent and reliable the
goods he sells, it will not do any good unless
the public is aware of it and has an opportunity
to test it. Therefore the two things that every
successful merchant must do is to let the public
know where it can buy certain goods and also
to give them a reason for buying at one place
rather than another. All of this is considered
ample reason for advertising, and the next thing
to do is to study how to do it best and most
economically.

The systematic advertising that has been
proved successful and a wise investment is based
upon these five divisions of effort. We may
have mentioned this before, but it will stand
repeating. The steps that must be considered
in every advertising campaign are:

1. Attract the attention of the public.

2. Arouse public interest.

3. Create a desire.

4. Get in touch with those who are interested.

5. Complete the deal, and make the sale.
Any advertising that is weak in any one of

these divisions is weak in results. The big busi-
nesses watch every step in the advertising cam-
paign and where they find a weak spot they

strengthen it up. The adoption of trademarks
and catch phrases are the means of attracting
attention. The argument, short and powerful,
or the illustration, made as tempting as possi-
ble, arouses the interest and creates a desire.
The offer of some special inducement, or the
giving of some attractive literature, or the
promise of further information to those who
aPPly get the contact between the seller and the
buyer. Then good salesmanship must complete
the transaction as soon as the probable buyer
is interested and within reach. It is a pretty
theory, and it is just as pretty a problem to
work it out successfully. If you do, you make
by it. If you do not even try it, or do not work
it out properly, it is a loss. If you want to suc-
ceed nowadays, you must do it in some form.
So select your method of doing it and take a
try. Do not say that you cannot succeed in it
until you have tried. We all want some busi-
ness between now and Christmas and we will
have to hustle to get it. Let's hustle some. —
Trade News.

How Many Positions?

In spite of the enhanced prices of plates,
paper, and, in fact, all photographic material,
there is a growing tendency for photographers
to offer their patrons a larger number of posi-
tions than was formerly considered necessary.
Many of us can remember when it was quite
usual to see on a card of terms the words: "six
copies (one position)," and "twelve copies (two
positions) ": beyond that the imagination of the
photographer did not go. Possibly he might
have given three positions with an order for two
dozen prints, but he rarely, if ever, told the
public so. Now we have some photographers
submitting six proofs with an order for a half-
dozen prints, and, if desired, retouching all the
negatives and supplying one finished print from
each. This may, at the first glance, seem to be
an extravagant way of doing business, but in
practice it is not so, for after seeing the proofs it
is a very rare occurrence for a small order not
to be increased. Hence, from a business point of
view, it is more profitable than making two
exposures and supplying no more than the half-
dozen originally ordered. Naturally, one must
look to the receptionist to make the best of the
possibility of increasing the extent of the order
when the sitter returns the proofs, and it is
obvious that this can only be done where the
clientele is of fairly good class. In a working
district a couple of good, bright proofs are all
that is required, as the sitter has usually prede-
termined what he or she can afford to spend on
portraits.

Another advantage of giving a good number
of poses is the reduction in the number of re-
sittings which always results. Re-sittings are
unpleasant to both photographer and sitter, no
matter how amiable each may be: very often
the customer grudgingly accepts portraits rather
than suggest another sitting. There are, we
know, some few sitters who make up their
minds beforehand that they will have a re-
sitting, no matter how good the proofs may be,

VIEWS AND REVIEWS

431

but such folk cannot be better dealt with than
by being given a good choice in the first place,
and an intimation that a re-sitting will only be
given free when a very good reason exists. The
photographer who cannot please a client with
one or more out of half a dozen poses has much
to learn, and should immediately set to work
to find out why his pictures fail to please.
Monotony must be avoided at all costs: six
poses with nothing but a slight turn of the head
or a trifling variation in lighting will not neces-
sarily prove acceptable. The form in which
proofs should be submitted is a matter for careful
consideration, whether untoned prints from
untouched negatives, untoned prints from
slightly retouched negatives, or finished prints
mounted so that they can be counted as part of
the order. The general consensus of opinion
favors the middle course, the most obvious
defects being removed by the retoucher, and
lightly printed P.O. P. prints made, without
toning. These are sent with an intimation that
any desired alterations should be indicated upon
the selected poses in ink or soft pencil. It is
then quite easy for the sitter to point out where

she considers that the coiffure may be altered,
the drapery modified, the size of the mouth
reduced, and so on. This can safely be left to
most fashionable sitters, who are fully aware of
the powers of the retoucher, and are, if anything,
more likely to over-rate his powers than to
ignore them. This knowledge often avoids a
re-sitting. If the nose looks too large, and the
sitter knows that the knife can be used, all that
is necessary is for her to say so upon the proof.
The only argument against submitting a lib-
eral number of proofs is to be found on the score
of expense. Plates are costly now, but they
hardly reach the prices ruling when gelatin
came into use. In the majority of cases, eighteen-
pence would cover the extra outlay on an aver-
age sitting, and if this not only minimizes
re-sittings, but increases the volume of busi-
ness, the investment is a sound one. We have
not counted the cost of extra retouching, nor the
operator's time in exposing and developing, as
there are few studios in which, except at Christ-
mas or "local seasons," the staff is kept fully
employed all the time. — British Journal of
Photography.

VIEWJ* AND
REVIEWS

The Work of C. Crowther

In our issue of January last appeared repro-
ductions of the work of Mr. C. Crowther, of
Japan, whose work is gaining deserving distinction
and we are pleased to be able to show our readers
some of his more recent prints. Mr. Crowther
has recently been elected a Fellow of the Royal
Photographic Society of Great Britain. He is
one of those keen workers who, in spite of being
separated from their native country by many
thousands of miles, continue to produce good
work with unabated enthusiasm for the mere
love of it, which is all the more praiseworthy
owing to the lack of local competition. This is
the true spirit, and this worker has already by
means of his camera been able to contribute a
considerable sum of money to the National
Relief Fund in connection with the war. Mr.
Crowther's work is quite individualistic in char-
acter, and special attention is directed to the
pose and lighting of his subjects. Speaking of
his methods he writes:

"For many, many years I have worked at
photography with more or less interest, and can
only conclude that my recent work in portraiture
and the acknowledged qualities my pictures
contain are an unconscious application and
development of my past experiences. I am quite
unaware of any special effort or straining to do
any more than portray the character of my
sitters.

"My work is doubtless different from the

usual style of the professional photographer, but
I believe is in keeping with that of advanced
workers in the British Isles and the United
States. "

"Collodion, and the Making of Wet-plate
Negatives for Photographic Work"

This is a handbook of information concerning
the production of wet-plate negatives by simple
and sure methods. In response to many requests
and in keeping with the "Eastman Service,"
they describe the way in which Eastman
collodion should be used in photo-engraving
work. This booklet is valuable to anyone
interested in the subject, and will be mailed on
application to the Eastman Kodak Co., at
Rochester, N. Y.

"Making Money with the Camera"

Is the title of this recent issue (No. 163) of
The Photo-Miniature, full of ideas, suggestions,
and methods for making spare-time money with
photographic specialties, for amateurs or pro-
fessionals. It gives dozens of methods by which
any photographer can add S100 to $2000 a year
to his income, with very little effort — practicaly
spare-time work. There is the actual fact or
experience behind every idea, plan, assertion
and figure given in the book. It is big value
for little money — 25 cents, through your dealer
or Tennant & Ward, 103 Park Ave., New York
City.

432

VIEWS AND REVIEWS

Military Airplane Photography

As early as 1850 Captain de Laussedat, of the
French Engineer Corps, suggested the use of
photography for surveying, and as a direct result
of his work attempts were made to take photo-
graphs from captive balloons even prior to the
Civil War. Although at that date the art of
photography had not sufficiently advanced,
nevertheless photographic surveying soon became
a success, even with the wet-plate process, and
with the introduction of the dry-plate the method
was adopted by a number of governments. When
military airplanes came into use the value of
photography for correct location and delineation
of objects was well understood.

The primary object of airplane photography
is to obtain a complete and perfect record of that
part of the terrain seen from an airplane; another
object is to obtain a record in large enough scale
to permit the recognition of most of the points of
importance; while a third is to permit the placing
of the various objects seen on the photographs
in their true location on the map. The employ-
ment of dummy guns, tree branches, paint, etc.,
to create a false impression was practically coinci-
dent with the development of airplane photog-
raphy. One result of such photographs has been
to change entirely the manner of placing field-
guns. Now, a well-marked gun-pit does not
necessarily denote the presence of a gun, as there
may be found three or four well-marked gun-pits
to each gun in actual use.

In the European war it has been found advan-
tageous to obtain records from day to day of the
holes made by high explosive shells which may be
available for cover in carrying out attacks. This
led to photographs large enough to permit of the
closest possible identification in the negative or
print. Until quite recently the average scale
of military photographs was about 50V0
actual size. Since this is the scale of a true
horizontal photograph with a 12-inch lens at
5000 feet elevation, with the increased range of
anti-aircraft guns, in some instances, lenses of
extreme focal length were used. In practice,
placing all enemy positions in their true location
on the map has resulted in the location and des-
truction of field-guns a few hours after a photo-
graphic reconnaissance flight. — A. Brock, Jr.,
in Aviation.

A New Noiseless Studio Shutter

The Eastman Kodak Company has just put
on the market a new studio shutter, for Century
and Folmer & Schwing cameras only. It is called
the F. &. S. Studio Shutter, and has been designed
to meet the demand for an exposing mechanism
of simple and durable construction that will
operate with an extremely silent and positive
action, permitting the operator to give his
undivided attention to the subject. The shutter
requires no setting, and the curtains are rapidly
and silently actuated by means of a rubber
bulb and tubing. The shutter is now ready for
distribution for 8 x 10 and 11 x 14 cameras.
There is a folder giving further details which
will be supplied on application.

A New "Ensign"

The firm of G. Gennert has placed upon the
market a camera with a new equipment which is
an addition to the already complete line of hand
cameras of the well known Ensign make. At
the moment the camera is supplied in 3A size
only. It is a compact, round-end model, leather-
covered. Particular attention should be called
to the advantage of the U-shaped front with
which this camera is equipped. It is fitted with
an Ilex General Shutter, which is noted for its
accuracy and excellent make, and with an /:7.5
anastigmat lens. The cells are specially ground
anastigmatic lenses of a speed of f:7.5, which
are sufficiently fast enough for excellent work of
the advanced amateur as for the ordinary camera
user.

We take pleasure in recommending this camera
to anyone who wishes an outfit of this kind.

"How to Make Portraits"

This is a new and thoroughly revised edition
of a popular handbook, in Practical Photography
Series, and while largely intended for the amateur
there are many hints for the professional. This
is published in both cloth and paper, the price
being respectively 50 cents and 25 cents. Copies
supplied through this office.

A Full Supply of Autochrom Plates

We are advised by R. J. Fitzsimons, 75 Fifth
Avenue, New York, that while at times during
the past year he has been out of stock of some
sizes of Autochroms, the factory in France has
so far overcome its difficulties of production that
he now has a full stock of all sizes and anticipates
that he will be able to take care of fall business
without difficulty or delay.

A Timely Suggestion

This is the time when every man in the
army and navy will want a photo-case, and this
is a timely opportunity for photographers to
increase their business by specializing in this
war-time suggestion. Attention is called to the
new and fine line of photo-cases and metal
photograph frames manufactured by the L.
H. Cohen Co., 28 East Twenty-second Street,
New York City.

These photo-cases are extra thin and made of
long-grain leather lined with moire silk, in oval
or square opening. Folds flat for the pocket
and specially designed to contain the photo-
graph that will give comfort and consolation to
every man in the service. The prices are reason-
able and it will pay you to send for their latest
catalogue A.

A Bit of Advice from Alfred Stieglitz

"In my opinion the most difficult problem in
photography is to learn to see. All else is com-
paratively simple, and one can only learn to see
through comparison, through contrast. That is
every artist's greatest secret."

VIEWS AND REVIEWS

433

Announcement of the Pittsburg Salon of
Photographic Art

The Fifth Annual Salon, Carnegie Institute,
Department of Fine Arts, Pittsburg, Pennsyl-
vania, will be presented during the month of
March, 1918. Last day for receiving prints,
February 9, 1918.

Salient features of Pittsburg Salon: No
expense to contributors except carriage to
Pittsburg; all work submitted will receive
careful consideration by a committee of pic-
torial photographers; only work not exhibited
before in this country will be accepted; pictures
to be sent mounted but unframed; all work
accepted will be shown under glass.

Pittsburg is fortunate in having at their
disposal the finest exhibition quarters in the
country, in the midst of one of the finest art
collections in America, and visited by more
people than any salon in any city of the United
States. Gallery is open daily, 10 a.m. to 10
p.m. Sundays 2 to 6 p.m. Free to the public.

The officers of the Pittsburg Salon present
these exhibitions for the advancement of
pictorial photography, no mercenary motives
prompting their work. It is guaranteed by
contributing members who are the best artists
in pictorial photography. New workers are
especially invited to send work. Entry blanks
later on application, and final announcements
will appear in all photographic journals later.
C. E. Beesox, Secretary.
700 Union Arcade Building, Pittsburg, Pa.

Ninth Congress of Photography

Cedar Point, Ohio.
August 3, 1917.
The following is a resolution adopted at the
Ninth Annual Convention of the National
Congress of Photography, in session at Cedar
Point, Ohio, endorsing accredited Photographic
Schools.

To Whom it may Concern:

Whereas, The photographic profession would
be greatly served by a close cooperation between
the P. A. of A. and the photographic schools;
and

Whereas, There has not been any of this
cooperation in the past.

Resolved, That any photographic school which
shall confine its diplomas to those students who
shall specialize in one of the different depart-
ments of studio work, such as printing, retouch-
ing or operating, and who shall have pursued a
course in which he specializes of not less than
six months' duration, and for which the diploma
is granted; said schools shall be rated as accred-
ited institutions by the Photographers' Associa-
tion of America; be it further

Resolved, That the executive board of the P.
A. of A. shall be empowered to issue letters of
credit to schools which comply with the above
requirements, and also be empowered to with-
draw such letters of credit when such schools
fail to comply with the requirements upon the
compliance of which the letters were granted.

Eastman Commercial Film

Announcement of the new Eastman Com-
mercial Film will be of special interest to the
many commercial photographers who have found
Portrait Film a decided advantage, convenience
and economy in much of their work, but it
should also be of general interest. Commercial
Film has about the same speed as the Seed 23
plate and may be used for the same classes of
work. Its contrast is between that of Portrait
and Process Film and it will be found especially
useful in copying and all similar classes of work
requiring slightly higher contrasts than can be
secured with faster emulsions.

There is an advantage in the slow emulsion
due to the latitude in handling. While the
maximum contrast is high, a low contrast can be
secured with less than normal development, and
if exposure has been short, development can be
forced to a higher contrast without fogging than
is possible with faster emulsions.

Aside from its special advantages as a slow,
contrasty, fine-grained film for copying or making
positives from which duplicate negatives are to
be made, it has the same non-halation properties
as all film and the same physical advantages of
lightness, compactness, flexibility, etc. These
advantages are great when a considerable number
of valuable negatives or positives must be stored
and guarded against breakage, etc.

The Brooklyn Institute of Arts and Sciences,

Department of Photography, Academy

of Music Building

Proposed Events of the Department of
Photography

Season of 1917-1918

Loan Exhibition of Prints

Monday, October 15; Monday, November 12,
and Monday, December 10, 1917. Monday,
January 7; Monday, February 4; Monday,
March 4; Mondav, April 1, and Monday, April
29, 1918.

Saturday, April 27, 1918, Twenty-eighth
Annual Exhibition.

Demonstrations

October 12, November 2, November 23, and
December 14, 1917. January 4, January 25,
February 15, March 8, March 29, and April
19, 1918.

Lectures on Photography and Criticism

December 7, 1917. January 18 and March 1,
1918.

Classes

(Advanced Classes)

Instruction in Art Photography. October 4 to
April 4, 1918, first Thursday evening in each
month and five Saturday afternoons at studio
work under the instruction of Clarence H. White.

434

VIEWS AND REVIEWS

Instruction in Rudiments of Photography

October 2 to April 23, on Tuesday evenings.

Beginner's Class, first and third Tuesdays.

Advanced Class, second and fourth Tuesdays.

Also four afternoons in field work and ten
demonstrations by William H. Zerbe.

Advanced Class Instruction in Art Photography

Recognizing the broadening influence of
artistic photography in portraiture, magazine
illustration, and as a medium of art expression,
the department of photography of the Brooklyn
Institute of Arts and Sciences has again secured
the cooperation of Mr. Clarence H. White, of
Columbia University.

This course will consist of twelve sessions,
beginning October 4, 1917, and ending April 4,
1918. The class will meet on the first Thursday
evening in each month, and there will be five
Saturday afternoons at studio work.

Anyone interested in photography living near
New York and Brooklyn will be well repaid by
attending this special course, which is open to
beginners as well as advanced workers. It is
an unusual opportunity for all photographers.

The cost of tuition for members of the insti-
tute is $10 and $14 for all other persons.

Write for prospectus giving full particulars.
Address the Brooklyn Institute of Arts and
Sciences, Academy of Music, Brooklyn, New
York, or Mr. Clarence H. White, 230 East 11th
Street, New York City.

The Death of Mr. W. I. Iliffe

We deeply regret to have to record the death
of Mr. William Iliffe, the founder and senior
partner of Iliffe & Sons Ltd., the proprietors of
Photography and Focus. Although for some
years past he had taken no very active share in
the management of the business, which owed so
much to his foresight, his keen interest in all
connected with it was maintained to the last.

Latterly his health had been failing, but he
was able to follow his usual pursuits almost unin-
terruptedly, dying in his sleep on the morning
of July 5th at the age of seventy-four.

Preventing the Taking of Two Pictures on the
Same Film

With a view to eliminating all possibility of
double exposure through not winding the film,
Clarence A. Hoyt, of Tacoma, Washington
(according to the Scientific American), has in-
vented a device which prevents a picture from
being snapped until the film has been turned.
When adapted to the box type of camera a
catch locks with the shutter-release lever after
an exposure is made, and in order to unlock the
lever it is necessary to first turn the film. It is
also possible to make the device indicate whether
the film surface in position has been exposed or
not by means of a window in which appears the
word "Exposed" or "Unexposed," as the case
may be. A device of this kind, so far as the auto-
matic locking of the shutter until the film has
been wound is concerned, is, however, not new.

How to Increase Profits. Have a Bonfire

Do you want to make more money? Do you
want to please your customers? Do you want
to get more people in your reception-room, and
in your studio? If so haul down those old frame
pictures that have been on the walls of your
reception-room "lo! these many years." Take
them out in the back yard and have a bonfire.
Then redecorate your reception-room and put
up a few new up-to-date pictures and frames.
Business will soon improve and you will wonder
what caused so many to come to your studio.
Simply because you are up-to-date. There are
a number of first-class enlarging houses who have
artists who will make you up-to-date prints.
Hang a few of these in your reception-room and
you will soon find that it is a great deal easier
to take orders. It might be well for you to pull
the pictures out of your showcases and in some
cases take the outside case down and burn it
with the rest. — Ohio Photo. News.

The New "Verito"

The new Verito lens with diffusing stops for
enlarging has proven a wonderful success where
the photographers have taken pains and learned
how to use the same. Enlargements have a rare
pictorial quality which cannot be obtained by
any other lens. The prints of C. Crowther,
shown in this number, were made with a
"Verito." Mr. Crowther writes us that he
seldom does any retouching.

Proofs

How many photographers take care of the
question of proofs from a business standpoint?

Many of them do not realize that the proofs
they submit to their customers are their merchan-
dise, and should be handled absolutely from a
business point of view.

The photographers who do business with the
cheaper class of trade get the best results, for they
invariably make their customers understand that
the proofs must be reported upon, otherwise
they have to be paid for, and as they always get
a deposit at the time of the sitting, the customer
does not want to lose this; hence they get paid
for their work.

In the better class of studios, where credit is
given, many of the photographers seem to be
afraid to ask about the proofs after a certain
length of time and I have known many instances
where the customer has never reported on them;
the photographer being out not only his time and
materials, but is carrying on his books a pros-
pective customer who does not produce results.

At the present time, where the question of
materials is of vital importance, it behooves
the photographer to take care of his business
from a practical standpoint, and as his proofs
are what he depends on for his orders, they should
be given the closest attention, in fact, it is as
necessary to do this as it is for him to take
advantage of his discounts. — The Professional
Photographer {U. S.).

VIEWS AND REVIEWS

435

David Stern Company Moves to Larger Quarters

The David Stern Company, of Chicago,
announce the recent removal to their new four-
story Davsco building at 1027-1029 Madison
Street.

A modern dark-room is equipped on every
floor and a testing-room with lens charts, etc.,
on the second floor are new innovations.

Every camera and lens will be carefully tested
before it is shipped, assuring the purchaser an
accurate photographic equipment.

A large and constantly moving stock of
cameras, lenses, plates, paper and other acces-
sories will enable them to ship mail orders without
delay.

This Company have our best wishes for
increased business.

"Emergol" as a Substitute for "Agfa" Metol

Having now had three years of the most
severe tests, by the photographic trade in general,
"Emergol" is offered as the nearest approach to
the German "Agfa" Metol. Suitable formulae
is given with the product, but it has been found to
work most satisfactorily when used in like pro-
portion as given in any formula calling for
Metol.

John I. Hoffman Resigns from P. A. of A.

John I. Hoffman has resigned as secretary
of the P. A. of A. to take effect on September 1.
He becomes Assistant Secretary of the Inter-
national Association Rotarv Clubs of Chicago,
111.

Mr. Hoffman succeeded in building up the
organization and placed before photographers
many ideas that have been a benefit to them.
He is succeeded by Charles J. Columbus, of
Washington, D. C.

Get the Soldiers' Business

Many photographers are taking advantage
of the opportunities for business offered by the
recruiting of men for our army and navy, the
national guard and officers' training camps.

We know of one photographer who expects
to photograph every man who enlists from his
town, and he will probably do it, for he is pulling
every string that has an end long enough to get
hold of.

He is advertising in the motion-picture houses
and the newspapers, asking the public to watch
his show window for pictures of the boys who
are enlisting. The newspapers have agreed to
publish his pictures of the recruits in one of their
issues, and we have no doubt that he will get the
business and a considerable amount of advertis-
ing as well.

The immediate profit is the important thing
and it should be a good profit. The advertising,
however, is also important, for there will be much
more of this business, and the man who gets it
coming his way will find it easy to keep it coming.
— Photo Digest.

Photographic Subjects in Leading Periodicals

"A Bibliography for Color Photography,"
by A. S. Cory, Motion Picture News, July, 1917,
p. 298. _

"Additions to Emulsion," by W. E. Deben-
ham, British Journal of Photography, 1917, p.
319.

"Color Vision and Color Photography," by
C. W. Piper, British Journal of Photography,
1917, p. 21.

"Reaction of X-ray on Plate, Pastille and
Skin," by J. Remer and W. D. Witherbee,
American Journal of Roentgenology, June, 1917,
p. 302.

"Mounting on Metal," Studio Light, June,
1917, p. 20.

"Home-made Transparency Plates," by W.
E. Debenham, British Journal of Photography,
1917, p. 289.

"Methods of Determining Exposure," Motion
Picture World, June, 1917, p. 2094.

" Intensifying Negatives," by C. E. K. Mees,
Kodakery, July, 1917, p. 21. '

"Warm Tones Direct in Development,"
Fotografen, April, 1917, p. 16.

"The Photographic Rendering of Tone
Values," by C. E. K. Mees, Studio Light, June,
1917, p. 3.'

"Maintaining Photographic Standards," by
A. B. Hitchins, Jou,rnal of the Franklin Institute,
August 1917, p. 179.

"Tank Plate Making," by A. O. Forrest,
British Journal of Photography, 1917, p. 291.

"The Grain in Photographic Plates and a
Method for its Investigation," by P. P. Koch
and G. du Prel, Chemical Abstracts, 1917, p. 318.
"Some Simple Lens Arithmetic," by B. E.
Havelock, British Journal of Photography, 1917,
p. 298.

"Landscape Photography," Photo Miniature,
April, 1917.

"Enlarging with a Hand Camera," Kodakery,
July, 1917, p. 24.

"Photographing Wild Flowers," Kodakery,
July, 1917, p. 10.

"Restoring Scales," British Journal of Photog-
raphy, 1917, p. 294.

"An Easy Method of Constructing a Focussing
Scale," bv E. Senior, British Journal of Photog-
raphy, 1917, p. 313.

"The Bromoil Process," by Brum do Canto,
British Journal of Photography, 1917, p. 306.

"Enlarging Accurately to Scale," by A.
Lockett, British Journal of Photography, 1917,
p. 297.

"The Photographic Production of a Litho-
graphic Key on Zinc and Aluminum," by
J. I. Crabtree, National Lithographer, 1917, p. 45.
"Photomicrographs in Color," by C. E. K.
Mees, American Photography, Aug. 1917, p. 448.
"A Photochemical Theory of Vision and
Photographic Action," by P. G. Nutting,
Journal of the Optical Society of America, January
1917, p. 31.

THE WORKROOM

By t3e JiedtT Operator

How to Utilize Waste Material

Sensitizing Japanese Paper for Printing-out or

Development
Giving Photographs a Canvas-like Surface
Coloring Photographs

Photogravure Plate Making and Printing
Making Enlargements
Correct Exposure
Diffused Light and Direct Light, and Some

Facts in Practice

How to Utilize Waste Material

Ruined negatives are undoubtedly the great-
est waste by the photographer. The uses to
which it may be put are many-fold. Cut the
glass so that it will measure 3J inches square
and the films cleaned off, they will make excel-
lent cover-glasses for lantern slides.

Take a spoiled negative, dissolve off all the
silver with a solution of potassium ferricyanide
and hypo. Rinse, dry, rub with sandpaper, the
result will be a splendid ground-glass.

Take another negative and repeat the dis-
solving of the silver, but this time wash thor-
oughly. Squeegee down on this a print, and an
opaline will be the result.

Users of pyro, instead of throwing the old
developer away, should keep some of it and
allow it to oxide. A thin negative, if immersed
in this for a few minutes, will be stained a deep
yellow all over, and its printing quality will be
much improved.

Flash-powders to be ignited by simply apply-
ing the flame of a match or laying on an oiled
paper and igniting that, may be made by the
following formulas:

Magnesium 6 parts

Potassium chlorate .... 10 parts

Aluminum 4 parts

Potassium chlorate . ... 12 parts

Sugar 1 part

The ingredients in each case are to be pow-
dered separately, and then lightly mixed with
a wooden spatula, as the compound may be
ignited by friction and burn with explosive
violence.

It is best to make only such quantity as may
be needed for such use at the time, which is 10
or 15 grains.

To Restore Faded Photographs

1. As a precaution against a mistake first
copy the old print in the same size. Soak the
faded photograph for several hours in clean water

(436)

Washing Post-cards

Sodium Sulphite Crystals

Diffusing the Image in Fixed-focus Enlargers

An Economic Note

Nickel-plated Fitting

Improving Bromide Enlargements with Gold

Eliminating Hypo

The Use of Supplementary Lenses

Retouching

Random Notes

and, after separating print from mount, immerse
the former in nitric acid, highly dilute (1 per
cent.), for a few minutes. Then the print is
kept in a mercury intensifier (mercuric chloride
| ounce; common salt ^ ounce; hot water 16
ounces; used cold), until bleached as much as
possible. After an hour's rinsing, a very, weak
ammonia solution will restore the photograph,
with increased vigor, the upper tones being
much improved, though the shadows will show
some tendency to clog. The net result will be
a decided improvement in appearance; but, at
this stage, any similarly restored photographs
should be recopied if their importance warrants
it, as mercury intensifier results are not perma-
nent. It may be suggested that merely rephoto-
graphing and printing in platinotype will prob-
ably answer.

2. Carefully remove the picture from its
mount, and put it in a solution of the following
composition.

By weight.
Hydrochloric acid .... 2 parts

Sodium chloride ..... 8 parts

Potassium bichromate ... 8 parts

Distilled water 250 parts

The fluid bleaches the picture, but photo-
graphs that have been toned with gold do not
vanish. Rinse with plenty of water, and develop
again with very dilute alkaline developer.

The Recovery of Gold from Photographers'
Solutions

In reclaiming old gold solutions, all liquids
containing gold, with the exception of baths of
which cyanide forms a part, must be strongly
acidulated with chlorhydic or sulphuric acid, if
they are not already acid in their nature. They
are afterward diluted with a large proportion
of ordinary water, and a solution of sulphate of
ferroprotoxide (green vitriol) is poured in in
excess. It is recognized that the filtered liquid
no longer contains gold when the addition of a
new quantity of ferric sulphate does not occa-
sion any cloudiness. Gold precipitated in the
form of a reddish or blackish powder is collected
on a filter and dried in an oven with weights

THE WORKROOM

437

equal to its own of borax, saltpeter, and carbon-
ate of potash. The mass is afterward intro-
duced gradually into a fireproof crucible and
carried to a white-red heat in a furnace. When
all the matter has been introduced, a strong
blast is given by closing the furnace, so that all
the metal collects at the bottom of the crucible.
On cooling, a gold ingot, chemically pure, will
be obtained. This mode of reduction is also
suitable for impure chloride of gold, and for the
removal of gilding, but not for solutions con-
taining cyanides, which never give up all the
gold they contain; the best means of treating
the latter consists in evaporating them to dry-
ness in a cast-iron boiler, and in calcining the
residue in an earthern crucible at the white-red
heat. A small quantity of borax or saltpeter
may be added for facilitating the fusion, but it is
not generally necessary. The gold separated
collects at the bottom of the crucible. It is red, if
saltpeter is employed; and green if it is borax.

Sensitizing Japanese Paper for Printing-out
or Development

Photographs today are produced upon many
kinds of material; most of them are turned to
commercial account. There is one kind of paper,
however, that will yield beautiful photographs
that is not generally known except to those who
have worked the carbon process, a paper of a
delicate cream color known as Japanese paper.
This paper is well suited for photographic work,
no matter whether it is used as a transfer paper
for carbon work, prepared and sensitized, or as
a developed paper. Prints made upon this
material, by direct printing, are scarcely dis-
tinguishable from carbon prints.

Sheets of different thicknesses, about 20 inches
by 30 inches can be obtained and prepared in
the following way:

Salting the paper: Make up the following
albumin salting solution (be sure and use dis-
tilled water in the making-up process) :

Chloride of ammonium
Chloride of sodium
Distilled water .

120 gr.

30 oz.

Shake the mixture until the salts are dissolved;
now make up the following:

The whites of three eggs equal to 3 oz.
Distilled water 3 oz.

Beat this mixture into a well broken-up mass
for five minutes with a silver-plated dinner-fork
(the ordinary tin whisk egg-beater must not
be used for this work). When the mass has
been well beaten pour it into the salt mixture,
then place the hand over the wide-mouthed
bottle and shake the whole vigorously, so as to
secure thorough incorporation. Allow this mix-
ture to stand for twelve hours, then it will filter
freely through a double thickness of wetted
cheesecloth, in the first place, and secondly
through a tuft of wetted absorbent cotton;
arrange the filtering so that no air-bells are
found. The salted mixture must now be

poured into a clean tray and the sheets of paper
carefully floated upon the surface for three
minutes. Occasionally lift the paper by one
corner, to ascertain that no air-bells are formed;
if they are, use a quill camel-hair brush, dipped
into the salting mixture and wipe over the spot,
then return the folded paper to the solution.
At the end of three minutes lift the paper from
the solution and let it drain cornerwise over a
glass funnel, where it must be suspended by two
clean wood-clips upon a stretched line to dry,
away from dust and dirt.

When the paper has become thoroughly dry,
mark the back of the sheet with a black lead-
pencil; do not use the indelible ink pencil
because the violet mark will penetrate the paper
and spoil it. Roll the paper upon a cardboard
tube, face outward; always using a pair of clean
white cotton gloves when this is being done, so
as to prevent the fingers from touching the
surface. Paper thus salted will keep any length
of time before sensitizing.

Having a number of sheets prepared make up
the sensitizing solution as follows:

Distilled water 30 oz.

Recrystallized nitrate of silver . 4 oz.
Citric acid (crystals) ... 1 oz.

The nitrate of silver can be dissolved in 20
ounces of water, the citric acid in 10 ounces;
then add the acid solution to the nitrate of
silver, shake the mixture well; then filter it
through a tuft of absorbent cotton, in a glass
funnel. The sensitizing solution is now ready
for use.

Sensitizing the Paper

Pour the acid silver solution into a clean
porcelain or glass tray, in a room lighted by
yellow light only; place upon the surface of the
liquid one of the sheets of salted paper, the
salted surface upon the liquid, holding the paper
by opposite corners, so as to allow the middle
to touch the liquid first, then lower the ends.
By this means no air-bells will be found. If
the paper has a tendency to lift or cockle,
place a clean wood clip upon that part, for a
short time, when the sheet will lie flat. Allow
the paper to remain upon the liquid for three
minutes, or three and a half, when it may be
lifted and drained from one corner; allow the
drippings of silver solution to fall into a glass
funnel, placed in a wide-mouthed bottle. These
drippings can be returned to the original solu-
tion and filtered again for use. As soon as the
paper is perfectly dry it may be rolled up or
cut into the sizes required. Always make a
light leadpencil mark upon the back of each
sheet, otherwise it will be difficult to tell the
sensitized surface.

The sensitizing solution will become slightly
discolored after use; this will not affect the
sensitizing qualities. The paper prepared as
above will keep well for many weeks. The
Japanese vellum is an excellent paper to use.
The resultant image can scarcely be dis-
tinguished from a photogravure.

438

THE WORKROOM

Preparing the Emulsion for Developing Paper

The formula here given will be found to
answer well. It is not extra rapid, but gives
a brilliant clean image.

^mrich's hard gelatin . 2 oz.

Distilled water 10 oz.

Chloride of ammonium (C. P.) . 108 gr.

Place this in a clean stoneware crock, allow
it to soak for half an hour, then place the crock
into a saucepan with cold water about 3 inches
deep; bring the water to boiling-point; stir the
gelatin mixture with a strip of glass, add these
to (under a ruby light) the following, heated to
120° F. in a clean glass flask.

Distilled water .
Nitrate of silver
Citric acid (powdered)

10 oz.

252 gr.
30' oz.

This must be added slowly, the mixture being
well stirred during the addition. As soon as
the mixture is complete, remove the crock from
a saucepan, stand it aside to become cooled;
when quite cold and the emulsion is well set it
must be broken up and washed in the following
manner :

Under a ruby light, place a piece of the emul-
sion in the center of a folded piece of white
mosquito netting previously wetted and wrung
dry; twist the netting tight with both hands
until the emulsion squeezes through in shreds;
let this fall into another crock of clean water.
When all the emulsion has been thus treated,
tie over the crock two thicknesses of washed
cheesecloth; turn the crock over, so that all the
water drains off; repeat this washing with the
fresh water ten or twelve times, allowing a little
time to elapse between each washing. As soon
as the last washing has taken place, let the
emulsion drain for half an hour; now place the
crock with its contents into hot water; when
melted, add 1 ounce of pure photographic alco-
hol (no other kind), stir the mixture well and
filter through absorbent cotton pressed into the
small end of a clean kerosene lamp-glass, over
which has been tied a double thickness of cheese-
cloth; allow this to filter into a small earthenware
pitcher, or milk jug, when it is ready for use.
Have the paper cut to suitable sizes, say 8 inches
wide and the length of the sheet.

Pour the hot emulsion into a clean, warm
porcelain tray, clip the ends of the paper with
some light wood strips and the well-known
photo-wood clips; then hold the paper in such
a position that it is shaped like the letter J;
allow the lower end to touch the emulsion; then
by raising the left hand and lowering the right
at the same time the surface of the paper becomes
evenly coated with the emulsion; return the
paper over the emulsion from left to right;
drain the excess from one corner, so that no air
bubbles are found; then wave the coated sheet
in the air until the emulsion has become set;
then place it in a clean light-tight closet to dry.
When a number of sheets have been so coated,
and the emulsion used up, allow them to dry,
when they may be cut to the sizes required.

Any of the modern developers for gaslight
papers may be used for development. The
following one answers well:

Hot distilled water . . . . 15 oz.

Metol 20 gr.

Hydrochinone 40 gr.

Shake the mixture well, then add

Sulphite of soda (granulated) . 140 gr.

Let this dissolve, then add

Carbonate of soda (granulated) 120 gr.
Cold water 17 oz.

Also 30 to 40 drops of a 10 per cent, solution
of potassium bromide, made by dissolving half
an ounce of potassium bromide in 5 ounces of
water. The fixing bath being made up as
follows:

Hyposulphite of soda ... 6 oz.
Water 20 oz.

Add this to the following mixture:

Common alum 2 dr.

Water 10 oz.

Sulphite of soda .... \ oz.

Acetic acid \ oz.

The prints must be dipped into an acid solu-
tion direct from the developer before placing
into the fixing bath, or stains will appear, and
the fixing bath become spoiled; after fixing, the
prints must be well washed, and dried or mounted
wet according to taste.

Thirty grains of hydrochinone and 30 grains
of metol will make the developer more energetic
and give a different color.

Giving Photographs a Canvas-like Surface

Among the various surfaces which can be
given to photographic prints are those which
have the appearance of fabric, such as canvas;
and few exhibitions of any importance are held
which do not contain at least a few pictures
which show this effect. It can be obtained
with almost any printing method, and is some-
times a distinct advantage. It is not to be
recommended merely because painters use can-
vas, and so it may be supposed to be more
"artistic," nor must it be supposed that the use
of such means conveys any artistic quality;
but there are occasions when the broken char-
acter of a canvas surface is distinctly helpful,
causing empty spaces both in the shadows and
high-lights to seem less empty than they do
when the surface is smooth, and compelling the
spectator to view the picture from some little
distance, which the photographer may realize
is necessary to give the effect he designs.

The method by which the picture is given a
canvas surface will depend upon circumstances.
Before the war it was possible to buy canvas
coated with bromide emulsion, so that enlarge-
ments could be made direct. There was no

THE WORKROOM

439

intrinsic difference between its use and that of
ordinary bromide paper. There were also bro-
mide papers which had a canvas-like surface.
Some of these may still be obtainable, but the
war has cut down very drastically the variety of
materials at our disposal.

Then there are methods by which the finished
print can be given such a surface. If it is on
thin paper, we may put it face downward on
a pad made of a few sheets of newspaper, put
behind it a piece of canvas, back this up with a
stiff smooth card, and screw up the whole in a
letter-copying press, or even place it underneath
some heavy weights. The longer it can be left
like this the more perfectly will the canvas
convey its characteristic surface to the print.
It will not do to put the canvas on the face of
the print, as then the canvas effect, instead of
being in relief, will be in intaglio. With very
great pressure the result could no doubt be got
at once; but the amateur will find that with the
pressure he has at his command time is required,
and if the print can be left in contact with the
canvas for a week or two it is all the better.

There is another plan which has been sug-
gested, but is hardly to be recommended, since
it does not break up the surface in the way which
the canvas is used to obtain, but only gives a
superficial imitation of such an effect. This is
to make a negative of a canvas surface, and either
to print through this as well as through the
ordinary negative, or else to give the print a
supplementary exposure through the negative
of the canvas.

It is chiefly for enlargements that a canvas
surface is of use, as, unless the picture is a big
one, the coarse grain of the fabric is much too
aggressive; but the pressure method is applic-
able, of course, to a print on thin paper by any
process. It is not likely, however, to be required
for prints by such a process as P. O. P.

Canvas effects with the carbon process present
no special difficulty. There used to be a very
stout white single transfer paper having a canvas-
like surface, which for some large work was
very suitable; and there may be other papers
which can be used. It may not be known gen-
erally that any paper that does not positively
fall to pieces on wetting can be used as the
support in the single transfer process, by being
sized for the purpose; the sizing confers an
increased strength, so that even material of the
character of a blotting paper can be used. The
solution generally used for the purpose is one
of 1 ounce of gelatin to the pint, chrome alum
being added to harden it. By soaking that
weight of gelatin in about f pint of cold water,
and dissolving 20 grains of chrome alum in the
rest of the water, standing the two liquids in a
vessel of hot water until both are quite warm
and the gelatin has dissolved, the chrome alum
can be added to the gelatin without causing
precipitation. Such a mixture is applied while
still warm, either by brushing it over the paper,
or by immersing the paper in it, and then fasten-
ing it up to dry. We have not tried it, but it
is quite possible that with one or more coats
of some such mixture even canvas itself could
be utilized.

The mere mounting of a print on canvas will

sometimes give a very fair canvas-like effect,
but to secure this it is evident that the paper
must be thin and must be limp enough to be
pressed well into the recesses of the canvas, and
allowed to dry under pressure. If it is merely
put up to dry, exposed to the air, the paper as
it contracts will come away from the deepest
parts, and so stretch itself fairly smoothly,
although some of the texture will still be appar-
ent. By drying under pressure this can be
prevented. — Photography.

Coloring Photographs

We have had several inquiries lately about
coloring photographs. We will probably give,
later in the year, a few notes on miniature
painting and on the working up of enlargements
in color.

We give here a few examples on the simpler
ways of coloring — useful to those who have not
made a study of painting or drawing, but who
may have a demand — or be able to create one —
for tinted pictures.

There are two distinct methods of coloring
prints — from the front and from the back — and
of the two the former, if done with true artistic
taste, is preferable; the latter, however, is much
easier and requires absolutely no skill. The
materials used may be either water or oil-colors
or aniline dyes, though if the latter are used great
care must be taken to choose those that are
stable.

The materials required are: Brushes. Red
sables should be used for water-colors, not camel-
hair brushes; and for oils one or two flat hog-
hair of medium size, one or two smaller ones,
one or two stumpy ditto, and one or two small
flat sables. For water and oil-color painting
the following pigments are permanent: Chinese
white, light red, vermilion, carmine de Garance,
madder lake, cadmium* yellow, aureolin, cobalt,
emerald-green, sepia, burnt sienna, raw sienna,
lemon-yellow, ultramarine, terre verte, yellow
ochre. For water-color painting these pigments
can be obtained in the shape of powder and mixed
with the following medium:

Clarified albumen ... 1 oz.

Ammonium carbonate . . 20 gr.

Glycerin 20 min.

Ammonia 1 drop

Distilled water .... \ oz.

To clarify the albumen, obtain the whites of
two eggs, beat to a froth, and allow to settle for
twenty-four hours and filter; or obtain dried
albumen from any dealer; of this, dissolve 20
grains in 1 ounce of water made slightly warm,
add the glycerin and then the ammonia and
carbonate dissolved in the | ounce of water.
Filter the mixture and keep in a stoppered bottle.
Large quantities of this should not be made up as
it soon decomposes; a preservative, such as boric
acid, may be added to the above in the proportion
of about 1 grain to above quantity.

Although water-colors obtained dry are gener-
ally used by advanced workers, the beginner
should get the "moist " water-colors as being less
troublesome to work.

440

THE WORKROOM

For oil painting the tube oil colors should be
obtained, and to thin them down meglip or
medium should be used; a very good medium
which dries quickly is mastic varnish, made by
dissolving gum mastic 1 part in pure oil of tur-
pentine 10 parts.

All those who have tried know how difficult
it is to make colors take well to the surface of
prints, and it is usual to prepare the surface in
some way, and there are two methods: The first
is to lick the print all over; the second is to use a
solution of ox-gall. Purchase from a chemist the
purified ox-gall, which is a thick greenish-yellow
paste, and dissolve this in water and spirit.
Sixty grains of the purified gall dissolved in
16 ounces of distilled water, and 4 ounces of
wood alcohol added, will make a solution that
will keep, and which can be applied to any print
with a flat camel-hair brush, and after this treat-
ment, when dry, the print will take both oil and
water-color readily.

After the surface has been treated the color
should be applied, and for the delicate tints, such
as those of the flesh, etc., a stipple or cross-hatch
should be used, almost as in retouching, and it is
only in the deeper shadows that anything like
deep broad strokes should be made. The photo-
graphic image will, if you allow it, at least with
water-colors, always give you shadows and deeper
shades, and it is only when the color is laid on
too thick that difficulty will be experienced in
obtaining the shades.

For enlargements it is advisable to mount on
canvas with clarified fish-glue while both are
thoroughly damp, allow to dry, and then flow
over the surface some size, prepared by dis-
solving 4 ounces of gelatin in 20 ounces of water
by the aid of heat, and set up to drain and dry.

The foregoing methods all require considerable
artistic skill, but the following can be done by
any one, even by a child of about twelve or
fourteen years of age; the only care required is
to keep to the outlines of the printed image. It
is more applicable to albumen than to gelatino-
or collodio-chloride prints, because the supports
of the latter are too thick. Obtain a fairly deeply
printed albumen print, and soak in water until
thoroughly limp, remove it, and blot off the
superfluous moisture with blotting-paper. Pro-
cure a plain oak picture-frame the required size.
Give the front of the frame a coating of fish-glue,
and press down firmly on to the paper side of the
print, lift the print and frame up, smooth the
edges of the print on the frame, and use a roller
squeegee to take out wrinkles or folds, then rear
the whole up to dry; when thoroughly dry it
can be prepared for painting.

Procure a good-size varnish-mop, some japan-
ner's gold size and boiled linseed-oil, and mix the
last two in equal proportions, and add one-eighth
of the volume of castor-oil. Pour some of this
mixture into a saucer and dip the varnish-mop
into the same, and give the paper a thorough
good soaking until the grain is scarcely per-
ceptible and it is almost transparent; leave for
twelve hours reared up against a wall in a warm
place free from dust to dry. At the end of this
time, with some clean dry blotting-paper, blot
off any oil which has soaked through the albumen
surface. The varnish should now be nearly

dry or so tacky as only just to hold the finger
when applied.

Support the frame at an angle of forty-five
degrees over a looking-glass laid flat on the table,
so that plenty of light is reflected through it;
and with the proper brushes begin to paint with
the oil-colors, using mastic varnish as a medium.
It is unnecessary to use any art; the paint of the
desired tint is merely laid on in broad streaks,
keeping only within the outlines, and the photo-
graphic image gives all the delicate play of lights
and shades. It is astonishing how wonderfully
effective are prints thus treated.

When the paint is dry on the back of the print
a sharp knife run around the inner side of the
frame will detach the picture, and it can then be
mounted behind a cutout mount and framed if
desired.

To color prints with aniline dyes is not a
difficult matter. The real difficulty lies in obtain-
ing stable dyes. For those who wish to attempt,
the easiest way to set to work is to purchase
some packages of the diamond dyes, which can
be obtained at almost any store; turn the con-
tents of the package into a 4-ounce bottle, and
add 2 drams of glacial acetic acid and fill up with
water. The acid not only helps to dissolve most
of the dyes, but also acts as a good medium, for
if the solution will not take kindly to any print,
the addition of glacial acetic acid will immediately
make it take. Such solutions should not be used
too strong, and it is preferable to apply two
washes rather than one deep one. Always allow
one wash or color to dry before applying another
over it or next to it, and if care is used there will
be no running together. A selection of fine
sable brushes should be at hand.

Photogravure Plate Making and Printing

CopPER-plate and steel-plate printing has
traveled through ages, yet this method of print-
ing remains the same as in the fifteenth century.
It is, indeed, the only printing method where
machines have been found unavailable for the
higher classes of work. In spite of numberless
efforts, no mechanical device has yet been found
to take the place of the hand in wiping the plate.
The idea of the method of printing is simple
enough. Lines are incised or cut into a steel
or copper plate. The plate is rolled or daubed
with ink, which is thus forced into the lines.
The suplus ink is wiped off, leaving the surface
of the plate clean, while the ink remains in the
incised lines. Pressure is applied to the back of
the paper laid on the plate, and the paper, being
withdrawn, carries the ink with it out of the
incised lines. This is intaglio printing.

A photogravure plate is an intaglio plate
where the intaglio is produced by photography
instead of by hand.

Photogravures are produced by two processes:
one is called the building or deposit process; in
the other the photogravure plates are produced
by etching.

We must bear in mind the behavior of a steel-
plate in printing. It is composed of deep, fine,
incised lines, out of which the ink cannot be
wiped. In the photogravure plate it is different:

THE WORKROOM

441

there are no lines, only the tones and half-tones
in broad masses. An intaglio print is depressed
where these tones and half-tones exist. It is
plain some method must be adopted to give
these spaces a grain or ink-holding capacity, or
else when the plate is wiped there would be
nothing to prevent the ink being wiped out of
these depressions. To obviate this, the printing
plate must, as a primary necessity, possess a
grain or ink-holding capacity. In the deposit
process, bichromated gelatin is exposed to light
under a negative, and a picture obtained, not
in light or shade, but in relief and depression.
To produce the necessary grain, sand or pow-
dered glass or some equivalent gritty substance
has been mixed with the gelatin and gives a grain
to it. On this gelatin-grained picture, produced
by photography, a copper electrotype is depos-
ited or built, such electrotype having all the
necessary qualities for intaglio printing. The
admirable work of Goupil is done by this method.
In the reproduction of works of art it has never
been surpassed, though it is fair and proper to
add that a large proportion of its merit is due to
the amount of exquisite handling and finishing
which is put into the plate after the process
work has been completed.

The other method of preparing photogravure
plates, and by which by far the greater number
is made, is by etching. Provision is first made
for the necessary grain by dusting the copper
plate on which the etching is to be done with
powdered asphalt or resin, and heating the plate
sufficiently to melt it; these grains of asphalt,
of course, protecting the copper during etching
which goes on round them. The copper plate,
more or less covered with very fine particles of
melted asphat or resin, is then ready for the
reception of the gelatin "resist," properly so-
called because its function is to resist, in the
proper proportions, the action of the acid with
which the plate is to be etched. To prepare
the "resist" the services of a bichromated gela-
tin are again called into requisition. A sheet of
bichromated gelatin is exposed to light under a
positive (not a negative, or the subsequent
operations would make our final picture a nega-
tive) and attached to the grained copper plate
by atmospheric pressure. The parts of the
bichromated gelatin which have not been acted
on by light remain soluble and are dissolved
away with warm water. There remains an insol-
uble picture of varying degrees of thickness.
This resists in varying degrees, according to its
thickness, the action of the acid in which the
copper plate with its attached "resist" is now
placed for the purpose of etching. When the
expert has decided that the etching has pro-
ceeded to the right point, the action is stopped,
the gelatin "resist" removed, and the plate
proved. Do not forget that the necessary grain
has been produced by the acid not etching where
the asphalt has protected the copper, thus form-
ing small fine grains. Any defects may now be
removed and handwork added to the plate, but
this must be done by a skilful engraver. It is
desirable to avoid this as far as possible, in order
to preserve the fidelity of the photographic
reproduction. It is rarely safe to supplement
the work of the artist with that of another hand.

A Word About Steel Facing

After the plate has been proved, and approved,
it is ready for printing, but the copper plate
would not wear for twenty impressions if there
were no means of protecting its surface. This
necessary protection is effected by electric depo-
sition on its surface of an exceedingly fine, thin
coat of steel. When steeled, the plate should
yield thousands of impressions. If the steel
wears at all, the coating is easily dissolved off,
and a new coating of steel deposited.

The color of ink in which a photogravure is
printed is optional, but there is a very beautiful
method of printing photogravure plates, in which
the plate is inked locally with a variety of
colors, in fact, painted, almost as a painter
would paint his canvas, with this advantage,
that the design — the groundwork — is prepared
for him. When he has laid on his colors, his
picture is transferred to paper. The design or
groundwork remains, again ready to be painted.

It may readily be conceived that such a process
of printing is slow indeed, two or three impres-
sions a day, only, being obtainable from a mod-
erate-sized plate. Perhaps one is hardly justi-
fied in calling it photo-mechanical printing. It
is an art process, and when artistically done the
result fully justifies the labor expended.

The papers generally used for printing photo-
gravures are plate paper, Japanese vellum,
French Japan, parchment, and India. Enamel
and coated papers are not suitable for photo-
gravure printing.

The paper is prepared for printing by being
moistened and allowed to stand for several
hours under a light pressure, so that each sheet
of paper may become evenly dampened.

Photogravure plates cannot be printed satis-
factorily on dry paper.

Making Enlargements

To begin with, one must have a good sound
lantern, with a condenser that will cover the
plate; not necessarily an elaborate one, but one
that is strongly made of seasoned wood, does not
leak at the corners, and whose illuminant, be it
oil, gas, or acetylene, is optically centered. A
special enlarging objective is neither necessary
nor desirable, because any good quarter-plate
lens of not more than 5| inches will do all that
is required. As the lens has no rack and pinion,
it is preferable to have a rackwork frame on
the lantern itself, in order to facilitate focus-
sing. It is possible, of course, to merely rely on
the sliding telescopic tubes generally fitted in
the cheaper patterns; but fine adjustment with
these alone is almost impossible, so that the
slight extra cost of the rackwork on the lantern
is well worth having.

My own lantern has merely the base fitted
thus, as I use an ordinary quarter-plate lens,
which happens to be a good one, though I don't
fancy condensers vary so much in quality as
they are supposed to do, but they should be
fairly free from bubbles.

The illuminant is a knotty problem. Those
who have gas laid on of course can do no better
than rely upon the incandescent mantle; the

442

THE WORKROOM

ordinary upright pattern is the most used. It
gives an excellent light, but has the unfortunate
habit of projecting the pattern of the mantle on
the screen, unless a piece of ground-glass is
interposed between it and the lens.

It is now possible, I believe, to procure the
inverted mantle fitted with cowl and tray for
use in any lantern. This is a step in the right
direction, for in this type the light is much more
concentrated, and, being smaller, there is less
loss of light, a thing which is exceedingly diffi-
cult to overcome whenever ordinary gas is used.

Acetylene has its advantages in some ways.
The light is very intense and of good actinic
quality, but it is dangerous unless very well
fitted, and then it becomes expensive.

It is quite possible, however, to rig up an
acetylene installation by the aid of a bicycle
lamp, using the lamp merely as a generator, and
connecting a burner from the lantern to it with
India-rubber tubing. It is difficult to center the
light, however, but this can be overcome by a
little experimenting. For small condensers, one
burner should be sufficient; but for anything
over 5| inches in diameter, two or perhaps three,
would be necessary. The great point to be
observed, whatever illuminant is employed, is
even lighting of the screen. The circle should
be quite bright all over, without any shadows
or discoloration; the latter is often caused by
faulty condensers. By discoloration I mean
bluish patches near the edges where the illumi-
nation falls off. Unless this is overcome it is
absolutely impossible to get sharp enlargements,
however good the negative may be. When the
light is optically centered, there should be no
difficulty in getting sharp detail, even at the
extreme edges of the print. There are several
other points that tend to make for this end,
one is exact parallelism of the lantern and screen,
and another is the angle at which the screen is
set. Under normal conditions it should be at
right angles to its base. There are times when
it becomes necessary to depart from this latter
rule, generally when the lines in an architectural
negative require to be corrected, then the screen
often requires to be tilted backward or forward
as the case may be.

Having disposed of the apparatus, the nega-
tive itself is the next consideration. It is a great
mistake to imagine that every technically good
negative is suitable for enlargement.

There is a certain quality that alone will give
the finest results, and that quality can approxi-
mately be described as thin and clear, with
abundant detail, yet without any actual clear
glass.

It is often said that there is a certain printing
quality for every process, one particular quality
which will give the best print.

For instance, a pyro-developed negative, with
its slight yellow stain, is admitted to give the
best P.O. P. print, or any other print for which
daylight is employed, viz., platinum, carbon, etc.
But in artificial-light printing I have never
found the pyro negative in any way superior to
the negative developed with some of the more
modern developers. In fact, a number of my
best enlargements have been from hydroquinone-
developed negatives, most of which were clear

and very thin, yet with ample detail. The only
reason why I use pyro habitually nowadays is
because if I am uncertain of any of my exposures
I find I can obtain more uniform results, owing
to the greater control which is possible with a
pyro developer.

A dense negative is totally unsuitable for
enlarging by artificial light, that is to say, if a
pictorial result is expected. It might take half
an hour for the light to penetrate the darkest
portions, during which time the paper is almost
sure to show signs of fog from any stray light
which may emanate from the lantern, and there
is sure to be a little, especially from the chim-
ney, however well the thing is constructed. It
has no effect when the exposure is only of short
duration, as it has not time to act.

Bromide paper is nowadays made in so many
different varieties that it is often hard to make
up one's mind what kind to use. Generally
speaking, a paper with a moderately rough
surface will give the most pleasing result. The
rapid or extra rapid is specially adapted for
artificial light work, and yields the softest
prints. It should always be borne in mind that
the enlargement of a negative tends to increase
the contrast of the picture, so that harshness
has to be guarded against.

One has also a considerable amount of con-
trol over the image when enlarging, a thing
some workers are apt to overlook. For instance,
a landscape negative containing light clouds,
which are often extremely hard to bring out by
contact printing, are quite easily printed through
the lantern. All that need be done is carefully
to shade the lower portion of the picture when
its exposure is complete, allowing the highlights
and clouds to have a longer exposure. The
shading must be done evenly, so as to prevent
any difference between the two exposures
showing. A piece of cardboard kept constantly
on the move, and large enough to continually
cover the finished portion while the clouds are
being printed, is the most simple way of doing
this.

Now as to the exposure itself, which, after all,
is the crux of the whole matter, and which is a
difficult subject to write about — no rule which
would be infallible can be laid down. Experi-
ence is the only reliable guide after all, and it is
very soon gained with a little practice.

We have two factors which are more or less
consistent at all events, namely, the bromide
paper and the illuminant. The negative and
the size of enlargement are variable factors.
With regard, however, to the bromide paper, it
must be remembered that its speed only remains
constant so long as one adheres to the same speed
of paper — even different varieties of paper by
the same maker vary considerably in rapidity.

The size of the enlargement affects the expo-
sure to a very great extent; for example, if a
quarter-plate negative enlarged to a whole-plate
required eighteen seconds, it would require half
as much again if enlarged to 8 by 10, and double
if enlarged to 10 by 12.

It is always advisable to make a note of the
exposure and degree of enlargement, together
with the brand of paper used for each negative,
and to keep it as a reference for future use.

THE WORKROOM

443

In the development of an enlargement sev-
eral important things have to be observed: for
example, the kind of developer to use, the
amount required, the method of using it.

Amidol, metol, rodinal, ortol, hydroquinone,
are all suitable in their way; but the simplest is
amidol, and the most useful for all-round work.
There are so many good formulas of this devel-
oper published, that it would be superfluous for
me to furnish one here. Every maker nowadays
includes one in his list. Nevertheless, whatever
particular one is adopted, it should always be
compounded at home, for amidol is useless when
stale, and a fifty cent bottle of the chemical in
dry powdered form will last for months. There
is nothing complicated about its dispensation,
and the only other ingredients necessary are a
small quantity of sulphite of soda and a little
potassium bromide.

It will keep in solution and remain good for
four days, after which it turns pink, and loses
its power as a developer.

Rodinal is very useful as a single-solution
developer in the concentrated form, to which
it is only necessary to add water to form a
working solution.

It does not, however, produce such a rich tone
as amidol, but for some subjects of a delicate
nature it is admirably suited.

Whatever developer is selected, a sufficient
quantity of it should be used, in order to cover
the paper in the dish; otherwise it will not flow
evenly over the surface, and patches caused by
uneven development will result.

Six ounces of solution should be used for a
10 by 12 enlargement.

The paper, when taken from the easel or
screen, should be laid carefully in the dish, and
then flooded with water, or even slid into the
water which has been previously placed there.

Air bubbles are often a source of annoyance,
and therefore large sizes of paper should be
allowed a full minute to soak before pouring on
the developer.

As so many workers find it exceedingly diffi-
cult to judge when development is complete by
red-light, pains-should be taken to see that there
is plenty of it. In fact, it is an absolute neces-
sity to have a good light to work by when devel-
oping enlargements.

There is no risk of fogging the paper if good
quality ruby glass is used. The image should
be developed fully, and then held up to the light,
and its density judged by looking through the
paper. The fixing bath has a slight tendency to
darken the image, thereby increasing the con-
trast, so that development should not be carried
too far. — G. E. C. Morris.

Correct Exposure

It would be interesting to learn what propor-
tion of plates which are exposed actually receive
correct exposures; that is to say, the exposure
which will give the exact effect which the photog-
rapher has aimed at. Probably the smallness of
the percentage would astonish most people, but
as no exact quantities are involved, the point
must ever remain wrapped in mystery. It is an
undoubted fact that photographers trust too

much to instinct in this matter, and that a little
intelligent study would in many cases result in
a distinct improvement in the average quality
of the work. The shyness with which most pro-
fessionals view tank development is in itself a
proof that they distrust their exposures and
hope to be able to correct their errors in the
developing dish. Unfortunately, in the rush of
modern business, there is little time for experi-
ment, but even the once common precaution of
testing a plate from a new batch along with
one of the batch which is running low is rarely
taken; the day's work is gone on with, and when
the negatives are looked over the remark is
made, "These new plates are a bit slow" (or
fast, as the case may be). It is a well-known
fact that plate-speeds as marked on the boxes
are no more than a general guide, especially
when the extremely high numbers now demanded
by many photographers are given. Some
makers' 350 are about the same speed as others'
250, while with the same brand we have found an
enormous difference between a batch marked
250 and one marked 275. Here, then, we have
one factor of uncertainty over which the photog-
rapher has no control except by making a com-
parative test such as we have already mentioned.

Another factor is the variation in the strength,
or rather quality, of light, which most operators
estimate by the eye only. It is not at all a safe
practice, for a variation of 20 or 30 per cent, in
actinic value may easily exist without being
noticed. On doubtful days a test with an expo-
sure meter, even if only of the shilling "indoor"
variety, would enable a much more correct
exposure to be given. Many skilled operators
regard the use of exposure meters as amateurish,
but this is a serious mistake, for their uses are
as clearly defined as those of the thermometer,
or even the graduated measure. It is the ama-
teur carpenter and the botcher who scorn the
rule and gauge, not the skilled workman, who,
with a quarter of a century's training, might
well be expected to "see straight."

Especially do we commend the use of the
exposure meter to the outdoor worker whose
exposures are most frequently made indoors.
How often are under- or over-exposed plates
patched up and made the best of, when the
meter would have saved all the trouble. If an
operator is engaged in interior work day by day
he will, of course, rarely make a serious mistake,
but the all-round photographer, who gets an
interior perhaps once a week, stands especially
in need of a little assistance in judging the illum-
ination, and all the more because a record of
exposures is rarely kept by professionals.

Diaphragm apertures afford another pitfall for
the unwary. With modern lenses marked with
the F. values there is little excuse for error,
although we regret to say that even when using
these many photographers have to resort to
guess-work, but there are many thousands of
good lenses, both portrait and rectilinear, which
have their stops marked either with arbitrary
numbers or on the Dallmeyer decimal system,
which convey no idea of their relative values to
the majority of their users. Even in the case of
two standard systems, the F. value and the
U. S., we have known photographers to give

444

THE WORKROOM

the same exposures with each, not knowing that
only one aperture — //16 — is identical, the others
differing in a very great degree.

The bearing of correct exposure upon any
particular scheme of lighting the sitter is a very
important one, and, unfortunately, is rarely
recognized at its true value. An operator will
light a head so as to be quite satisfactory to the
eye, but upon development the negative is found
to be hard and chalky; and for the next attempt
the lighting is altered, with the result that a
better negative is secured, but the original effect
is lost. If one has a liking for bold effects in
portraiture, he will do well to try varying his
exposure before altering a lighting which was
pleasing to him. Much can be done in develop-
ment, especially with over-exposed plates, but
there is only one exposure which will give the
exact gradation which is seen in the studio, and
that is the correct one. There would be fewer
cases of false lighting if there were fuller expo-
sures and less use of the reflector. — British
Journal of Photography.

Diffused Light and Direct Light, and Some
Facts in Practice

The photographer, whether professional or
amateur, requires to make the use of light his
chief business or occupation. He uses light not
only in conjunction with a lens in making nega-
tives in the camera nor exclusively in the printing
from negatives on to sensitive paper. He is
concerned with the practical management of
light in many other ways than these, and, there-
fore, it is to his advantage that he should have a
practical acquaintance with some of the proper-
ties of light as they apply to various photographic
operations and apparatus. This, it need hardly
be said, is a large field of knowledge, and, more-
over, one which, unfortunately, is very little
considered in the text-books on light which are
available. In these notes my object is only to
explore a very small portion of this field — in
other words, to say something about the differ-
ence as regards practical usefulness in photo-
graphic work betweeh light which is "direct"
and light which is "diffused." Although these
terms are in common use I believe that the
essential facts which they represent are not
recognized by many practical photographic
workers. Some discussion, therefore, of the
behavior of light in what we may term these two
different forms may, perhaps, be of real useful-
ness in helping photographers to make the best
use of apparatus or to adopt methods which are
best adapted to a particular end.

As everybody knows, light travels in straight
lines. The difference between light which is
direct and that which is diffused does not lie in
any departure from this law. Nor is it essentially
a matter of strength or intensity of illumination.
Obviously the diffused light from a clouded sky
upon a surface may be more intense than that
of direct rays from a lamp. We associate direct
light with the casting of a sharp shadow, while
in diffused illumination no shadow of an object
is to be discerned. That is the essential differ-
ence between direct and diffused light, and it

arises from the fact that rays of light which
have been diffused by passing through some
medium or by being reflected from some surface
progress in every conceivable direction (along
straight-line paths) from every point of the
transmitting or reflecting surface. In other
words, light out of doors which reaches us through
clouds or by reflection of direct rays of sunshine
from the surfaces of clouds comes as a series of
infinitely numerous rays radiating in all direc-
tions from each point in the cloud. That is a
very different condition from the passage of
light direct from the sun which, at its immense
distance, is a very small source of light. In the
one case we have large areas comparatively close
to us sending rays in all directions; in the other,
we have rays proceeding without obstruction
from a source ninety-five millions of miles away.
This diffusion takes place whenever light is
reflected from a surface which is matt or dull as
compared with one which is polished, or whenever
light passes through a medium such as ground
glass or fabric which is not perfectly transparent.

In almost any street on a sunny day you can
see a very good illustration of the characteristic
action of a light-diffusing surface in comparison
with one which, by its polished nature, reflects
light sharply. The windows of many shops
have affixed to them lettering of a more or less
matt material. With the window in full sunshine
a large volume of light is reflected upon the
pavement by the glass, but in the case of the
lettering the light is scattered in all directions,
with the result that the pavement receives a
lesser volume of reflected rays and the letters
thus appear upon it darker than the surrounding
surface.

One has only got to think for a moment, and it
will be clear that it is through the agency of this
diffusion or scatter of light in all directions from
a matt surface that objects of any kind are visible
to us. Rays of light are reflected from them in
such an infinite multitude of directions that some
inevitably reach our eyes. On the contrary,
if an object is of a highly reflecting surface, i. e.,
one which does not diffuse light in this way, it
is visible to us only when we stand in just that
position where the rays reflecting from it meet
our eyes. You get a good instance of this very
often in the country when suddenly a small
window in a church tower will appear as a
brilliant patch of light as the result of our step-
ping into the path of the rays reflected from it.
The difference of a few feet either way from this
position will cause it to sink again into invisibility.

From all this we understand that without any
departure from the law of a straight path, the
effect of reflection from a diffused surface is to
spread light in all directions — up, down, and
on each side. Naturally, the intensity of the
light reflected in any given direction is much less
than that which would be produced by reflection
from a polished surface. The latter reflects,
roughly, the whole of the light falling upon it in
one direction, while a matt surface spreads the
same volume of the original light over a much
wider area.

To come now to some of the applications of
this common phenomenon in photographic
work. One of the most homely is, perhaps, the

THE WORKROOM

445

safe-light in a dark-room lamp. Everybody,
perhaps, recognizes, without precisely knowing
why, that a dark-room obtains more general and
comfortable illumination if the orange or ruby
material in the dark-room lamp is not trans-
parent like glass, but is of such a degree of semi-
transparency that the shape of the light — electric
filament lamp or incandescent gas mantle —
cannot be seen through the safe-light. Clearly,
if the safe-light is one of ruby or orange fabric
or of dyed gelatin films with one or more thick-
nesses of tissue paper between them, the safe-
light becomes a surface which scatters light over
a much wider area than is the case if the rays
from the source of light pass through a glass
screen with no alteration other than that of
removal of part of the colored constituents of
white light. Another reason, too, of the greater
comfort of a semi-transparent safe-light comes
into play. It is that the eye is in some measure
relieved from the glare of the concentrated source
of light, with the result that its sensitiveness is
greater, and it is better able to see distinctly
in the weak orange or ruby illumination.

The same thing happens when the light in the
dark-room is obtained altogether by reflection
from a solid surface, although, of course, that is
not a good kind of illumination for viewing
negatives by looking through them. But for
the development of prints and for generally being
able to find anything in a dark-room this general
diffusion of light is good and very efficiently
obtained by fixing up any kind of box a foot or
two below the ceiling, arranging the safe-light,
either glass or fabric, on the upper horizontal
surface, so that the whole of the orange light
passes directly upward, and is reflected and at
the same time largely diffused throughout the
room from the white ceiling. As an adjunct to
the ordinary lamp over the working bench,
illumination of this kind is a great comfort in
the dark-room, and it is surprising what a con-
siderable degree of light can be employed in
this way without any ill-effects in the way of
fog upon papers or even plates.

Again, we can see the operation of this same
spreading of light in the photography of interiors
or in taking portraits or photographs of any
objects in ordinary rooms. When the light out-
side is bright sunshine, or even when it proceeds
from a comparatively clouded sky, the part of
the room which chiefly receives the illumination
is that immediately facing the window. Parts to
the right or left are cast in shadow, which almost
invariably proves very much deeper in the
photograph than it appears to the eye. Experi-
enced photographers of interior subjects know the
advantage which results in the way of more
equal distribution of the light by closing the space
of the window with some diffusing medium, such
as thin muslin. The use of such material
amounts to the bringing just within the room of
a new, though weaker, source of illumination,
the rays from which spread on each side to a
markedly greater extent than they do from the
unobstructed window. This simple device is
often the means of making a marked improve-
ment in general interior views, particularly in
cases where a window faces the camera, the
muslin remaining in position for the greater part

of the exposure, and being removed for the
lens to be uncapped for a second or two at
its termination. And the same improvement
applied to indoor portraiture or to the photog-
raphy of things like furniture, in regard to which
a small part of the window may be left uncovered,
in order to give such a (small) volume of direct
light as may be necessary for the introduction
of touches of strong lighting.

In the illumination of negatives for enlarging
without a condenser we rely upon diffusion by
both reflection and transmission. The illumin-
ating-box sold for use with the Kodak Brownie
enlarger is a good specimen of the application
of this principle. The light (of a metal-filament
lamp) is placed in a closed box of comparatively
small size. Rays from it are reflected in a state
of diffusion from the sides of the box and from its
curved back, and are still further diffused by
passing through the semi-transparent screen
placed immediately behind the negative. Those
who make illuminating-boxes for enlarging
should not forget the very great diffusing effect
which they can obtain by reflection from the
sides of the lamp container. While materials
like sheet opal produce a very high degree of
diffusion, there is no reason to forego the further
effect which reflection affords and in so doing
utilizes rays of light which otherwise would be
lost.

This same advice applies also equally in illumi-
nating a negative for a contact printing box.
It is better to have the walls of the box lined
with good matt white paper than with mirrors,
as I have sometimes seen, and while I am upon
this point of printing boxes I may emphasize
one item which has nothing to do with the
subject proper of these notes, but which, appa-
rently, is often ignored by those fitting their own
electric lamps. It is that the lamp should be
placed longways in the box, that is to say, with
the length of the filaments parallel with the nega-
tive. You thus get a greatly increased illumina-
ting area as compared with that obtained by
fixing the lamps, as is often done, with their
tips uppermost. That such a piece of advice is
not altogether uncalled for should be evident
from the fact that some few years ago a special
pattern of metal-filament lamp was introduced
in which the filaments ran as a kind of grid
horizontally across the bulb. This was for no
other purpose than for obtaining the larger
illuminating area which is just as easily secured
by placing the lamp sideways.

These instances should be sufficient to empha-
size the value of securing diffusion of light both
by reflection and transmission, but in conclusion,
the conditions of a portrait studio need be men-
tioned only in order to remind my readers of the
large part played by diffused light reflected from
studio walls in the lighting of the sitter. In a
studio which is too big this effect is lost, and
the only remedy in such cases is to erect, as it
were, a studio within a studio. In others of
more appropriate size it is lost from the dark
color of the walls. Instead of the light being
reflected in very large measure, it is absorbed
by the dark wall covering, and I could point to
instances where exposures in a studio have been
cut down to a surprising extent by getting

446

THE WORKROOM

rid of dark brown or deep green wall-coverings
and replacing them by light gray or cream. —
Montague H. Pope, in British Journal of
Photography.

Washing Post-cards

To the average photographic worker the
washing of prints always presents a problem
which is not easy of solution, and post-cards in
particular, on account of their extra weight,
have a tendency to sink to the bottom of the
tank, and lie there in a heaped up mass. In this
condition it is impossible to get rid of the hypo
from the film, and consequently post-cards done
in this fashion cannot be said to be washed at
all, and in a few months' time spots and stains
are nearly certain to make their appearance on
the cards. A very simple way of making sure
that the cards will be thoroughly washed is to
use the rack in which the plates are placed for
washing. A quarter-plate rack is just right for
post-cards, as when these are placed in posi-
tion the cards will be slightly bent, and thus
kept firmly in the grooves. Some cards have a
tendency to float to the top of the water, and this
can be prevented by fastening a piece of string
over the top of the cards, and fixing the ends to
the edges of the rack. This will be found one of
the most convenient ways of washing cards to
the worker who only does a few at a time. —
Amateur Photographer.

Sodium Sulphite Crystals

Sodium sulphite crystals can be dissolved very
easily if warm — not hot- — water is used. The
best way is to put the crystals in a muslin bag
and suspend it in the water. The sulphite
solution falls down as the crystals dissolve,
and the remainder is constantly in contact with
comparatively fresh water. — The Professional
Photographer.

Diffusing the Image in Fixed-focus
Enlargers

It sometimes happens when enlarging with
one of the popular fixed-focus daylight enlargers
or printing boxes the all-over sharp result fails
to quite satisfy our pictorial sense, and we wish
for some means of diffusing the image. One
plan is to lay a piece of the bolting silk sold for
this purpose across the bromide paper; but it
often happens that this is not obtainable locally,
and some kind of substitute must be devised.
The present writer has made use of a piece of
butter muslin fixed to a light cardboard frame
made to fit into the enlarger about an inch above
the bromide paper. Such a frame is easily fitted
up, the coarse butter muslin fixed with "secco-
tine, " and when required for use the whole may
be fastened with four drawing-pins underneath
the frame to the inside of the enlarger or printing
box. It will be found that a slight diffusion will
be produced over the enlargement that will take
away any over-sharp qualities that the negative
may possess, and thus enhance the pictorial result
in the manner desired. — Amateur Photographer.

An Economic Note

At the present time, when everyone is
endeavoring to practise economy, not many
workers realize the saving that they might effect
upon their printing paper by using a slightly
smaller size, such as 3£ x 2\ for quarter-plate,
quarter-plate for 5x4, 5X4 or 6 x 4| for
half-plate, and 7x5 for whole-plate negatives.
Reflection will show that in nearly every case the
prints have to be trimmed down to something
near this size, or even smaller, and as these trim-
mings represent so much waste, there is every
reason for the course mentioned above. Though
the saving may not be very great, it is the parts
that make the greater, and here is one way of
economizing without, as is so often the case,
endangering the ultimate success of our work,
which is far from real economy. — Amateur
Photographer.

Nickel-plated Fittings

Nickel-pt ated fittings can easily be cleaned
with alcohol to which 2 per cent, of sulphuric
acid has been added. Apply this mixture liber-
ally and, after a few seconds, wash off with clean
water. Then rub over with a swab dipped in
fresh alcohol, containing no acid, and polish with
a dry cloth. This method will give brilliance to
the dullest piece of nickel-plate without damag-
ing it in any way. — The Professional Photographer.

Improving Bromide Enlargements with Gold

In most cases, particularly with small prints,
it costs more to improve a print than to make a
new one. Special intensifiers and reducers are
recommended, but as many of the solutions
require extra chemicals, and have to be specially
made up, it is more economical to make fresh
prints unless the sizes are large. When, however,
enlargements are being dealt with, the question
of improvement is worth consideration. A piece
of bromide paper of standard British make,
measuring 12 x 10 inches, can be improved at
less expense than would be involved in making
another print, and as the process I have recently
been experimenting with is very inexpensive, it
may be found useful.

One of our greatest authorities says that over-
exposures to the extent of 100 per cent., if
properly developed, will give results similar to
those from correct exposures. Unless, therefore,
the worker is very much at sea in the matter of
calculating exposures, he is not likely to get many
very bad examples of over- or under-exposure.
Over-exposures are more easily reduced than
under-exposures are intensified, but I do not
propose here to deal with either method. The
more common defect in enlargements, when a
pure black is aimed at, is bad color.

A disappointment many workers meet with is
that of finding their finished pictures greenish
or brownish black, instead of pure black without
a trace of any other color. Amidol tends to give
a black with a suspicion of blue, though very
slight ; the tone of the image, however, is pleasing
and amidol is very largely used for enlargements.
For a jet black the metol-hydroquinone devel-
oper is perhaps better; but no matter which

THE WORKROOM

447

of the developers be used, errors in the direction
of over-exposure, variations in the amount of
potassium bromide, and staleness of the develop-
ing solution, will produce an image of a greenish
or brownish tint, the former being the more
common and certainly the more unsightly. Any
attempt to tone such a picture to a brown will
end in failure; a yellowish or washed-out brown
would result, and the best thing to do is to use a
gold bath.

Most if not all photographers keep a solution
of gold chloride in stock, so that the process
deserves to be more widely used than it is at
present. Any of the gold baths used "for toning
gelatino-chloride or albumin papers may be used,
but after many trials with various things I have
decided in favor of the somewhat old-fashioned
acetate of soda. The exact strength of the bath
will depend upon the size of the print to be
treated and the way in which it is to be used.
The following is a normal solution:

Water 5 oz.

Acetate of soda 20 gr.

Gold chloride 1 gr.

As ammonium sulphocyanide is more common
in dark-rooms than the acetate, many will prefer
to use it. A suitable solution may be made
according to the above formula by substituting
20 grains of sulphocyanide for the acetate of
soda. Sulphocyanide in my hands works less
evenly than the acetate, and' with some bromide
papers makes the gelatin film dangerously soft
if the solution is worked for very long. One
may of course harden the print although harden-
ing slows the action of the toner, but in some
cases this may prove an advantage.

Large bromide prints are not easy to tone by
immersion, in the way that P.O. P. -pictures are
usually toned, because the edges tone so quickly
that they become over-toned before the center
of the picture is reached, especially if the solution
is strong. If the print is to be immersed the
quantity of water should be doubled or trebled
to slow the action and make the deposit of gold
more uniform, but at its best the immersion
method is not a very good one. The better plan
is to lay the fixed and washed print face upward
on a piece of glass or the underside of a porcelain
dish. If the print has been allowed to dry it
may be rewetted and placed on the glass or other
support. The toning solution is then swabbed
over the print with a piece of cotton wool, so
that the center of the large picture may receive
as much attention as the edges. Speed of
working depends upon the strength of the bath,
but if this is normal the image will soon become
richer and of good black, while prolonged action
will give a bluish tint. The picture will also be
slightly intensified. The print is finally washed
and dried as usual, no further fixing being
necessary.

The process is simple, and those workers who
have not tried it, will be surprised at the added
richness of the blacks when the treatment is
applied to one or more of their badly colored
bromide or gaslight prints.

Crimson tones may be obtained by treating
a sulphided print in a gold bath, but this cannot
be said always to improve a print. The orthodox

sulphide-tone is pleasing, while a picture of
more or less vivid crimson is not invariably
attractive. The print to be treated is first toned
to a sepia by any of the sulphiding processes,
washed, and then toned in the usual way in the
following gold bath:

Water 3 to 4 oz.

Ammonium sulphocyanide . . 10 gr.

Gold chloride 1 gr.

Hydrochloric acid .... 10 min.
Common salt 15 gr.

Toning is rather slow but may be hastened by
using more gold. The average time for toning
with this bath is half an hour.

Eliminating Hypo

Decomposition in sensitized goods is often
attributed to insufficient washing, when, as a
matter of fact, the real cause is more often
insufficient fixing. Proof of this statement is
seen in the result of a recent experiment in the
Kodak laboratory on the elimination of hypo
from the film of negatives.

1. The elimination of hypo from a negative
depends very largely upon the agitation given to
the water, very rapid and complete agitation
causing twice as much elimination as is secured
when the material is merely left in the water to
soak.

2. The rate of washing out the hypo is prac-
tically independent of the temperature of the
water, measurements made at 65°, 70° and 80°
F., all showing the same rate of loss of hypo.
This result, although it appears strange and is
contrary to usual belief confirms some experi-
ments made many years ago.

3. The elimination of hypo is very rapid in
all circumstances, the amount of hypo in the film
being reduced one-half every two minutes if
plates are left stationary and every one minute
if agitation is ensured. Consequently with com-
plete agitation the film may be considered to be
free of hypo in ten minutes, and if the agitation
is less complete, twenty minutes is sufficient.—
Photo Digest.

The Use of Supplementary Lenses

A correspondent recently suggested that it
would be useful to have a table showing at a
glance the effect of adding supplementary spec-
tacle lenses on to ordinary photographic objec-
tives. No doubt such a table would be of use,
but, unfortunately, it is not possible to make a
very comprehensive one, since the possessor of a
photographic lens seldom has the particulars
necessary to enable him to make full use of the
table. To get exact results we want to know the
focal length of our lens and the amount of the
optical separation, and the former is seldom
known exactly, while the latter varies very
materially with lenses of different types, and is
a factor that cannot well be ignored. If we add a
supplementary negative lens of about 16 inches
focal length to a doublet of about 8 inches focal
length, neglect of the separation gives an answer

448

THE WORKROOM

that is 2 inches too much, about 16 instead of
about 14 inches, and this is a material error.
It is therefore impossible for any table to be
absolutely right. Our correspondent submitted
a rough table showing the effect of using a very
varied series of supplementary lenses, from 1 up
to 40 inches, which table not only ignored sepa-
ration, but apparently assumed that very short-
focus supplementaries could be used with impun-
ity, and also that spectacle lenses of focal lengths
in inches could be obtained readily. We fear,
however, that no photographic lens would pre-
serve much of its defining power if compelled
to work in conjunction with a 1-inch spectacle
lens, while there would be great difficulty in
getting such a lens at all.

For economic reasons it is inadvisable to ask
for lenses that are not of stock focal lengths,
and spectacle lenses are stocked in powers
measured in diopters, not in focal lengths. Thus
the request for a 40-inch lens may lead to the
supply of one of 39f inches, which is the nearest
regular power, or, if the order is taken too
literally, to the special manufacture of a 40-
inch lens which may cost a good deal more. A
lens of a power of one diopter has a focal length
of 1 meter, and the power varies inversely with
the focal length, so that a lens of 3 diopters has a
focal length of 1 a meter. Lenses are usually
stocked in powers varying by I of a diopter, and
the following table gives a series which covers
all that are at all likely to be required for use as
supplementary lenses. The focal lengths in
inches are approximate only.

0.50 D
0.75 D
1.00 D
1.25 D
1.50 D
1.75 D

78|
521

0±2

26|

2.00 D
2.25 D
2.50 D
2.75 D
3.00 D
3.50 D

19f

15f
141
131
1U

The table applies to either positive or nega-
tive lenses, a plus sign being prefixed for the
former and a minus sign for the latter when
ordering. Positive lenses are required to shorten
the focal length and negative ones to lengthen
it. Double convex or double concave lenses are
most easily obtained, piano or meniscus lenses
generally having to be specially ordered. The
form does not matter very much so long as only
low-power lenses are used, and only low powers
are suitable for use as supplementary lenses.

To find the supplementary lens required to
alter focal length, first find the separation, or its
nearest equivalent, which may be taken as about
half the length of the doublet, if that is of the
symmetrical type. Deduct this dimension from
the focal length of the doublet, and multiply
the result by the focal length required. Then
divide the result by the amount by which the
focal length is to be shortened or increased. For
example, suppose we want to reduce an 8-inch
lens to a 6-inch one — that is, reduce the focal
length by 2 inches. We may take half the length
of the doubtlet as being 1 inch, and deducting
this from 8 and multiplying by 6 we get 42.
Dividing this by 2, we find that a lens of 21
inches is required. This must be a positive lens.
The nearest to this is a lens of plus 2 diopters

power, or 19f inches. To increase the focal
length from 8 to 10 inches, or by 2 inches, we
should proceed similarly. Multiply 8 minus 1
by 10 and divide by 2, the result being 35,
which is nearest to 311 on our table, that is to a
lens of minus 1 and jW diopters. A negative
lens is always required to increase focal length
and a positive one to diminish it.

It will be noticed that in neither of these
cases is a lens of the exact power required avail-
able. In the second case we have to use a 311-
inch lens instead of one of 35 inches. To find
out what effect this variation makes we can
calculate the focal length of the combination
of doublet and supplementary lens as follows:

Multiply the two focal lengths together and
divide the result by the sum of the two focal
lengths minus the separation; remembering that
if the supplementary lens is a negative one its
focal length is a negative quantity. Thus in
the first of the examples given above we multi-
ply 8 by 19f and divide by 8 plus 19| minus 1,
the result being 5T9o instead of 6 inches, which
was the result aimed at. In the second example
we multiply 8 by minus 311 and divide by 8
minus 311 minus 1, the result being 10T3o instead
of 10 inches. Trial will show that a lens of
minus 1 diopter would have given 9f inches as
the result, so that we have the choice of two,
both giving nearly the length required. Speak-
ing generally we may say that lenses of lower
power than 1 diopter are not necessary, while
those above 2\ diopters are not advisable.
Variations of less than \ diopter are not required
as they make little difference. Powers of 1, 11,
2 and 2\ diopters are most useful, and their
effect on lenses of 3, 4, 5, 6, 7 and 8 inches focal
length can be very approximately gathered from
the following table, in which we have allowed for
separations varying from \ to 1 inch, according
to the focal length of the original lens.

Original Focal Lengths

Supplementary

lenses. 3

+ 2.5 D 2|

+ 2.0 D —

+ 1.5 D —

+ 1.0 D 2f

+ 1.0 D 3|

—1.5 D —

—2.0 D —

—2.5 D 31

•J 3

-L5

5 6 7 8

41 4| 5| 6

4| 5 5f 61

41 51 6 7

51 7 81 9f

6 71 9 11

Blanks are left in the 3-inch lens column
because the different effects of 11 and 2 diopter
supplementary lenses are negligible. The former
may be considered to have the same effect as
1 diopter and the latter the same as that of 21
diopters. The most useful variations are given
with lenses of 5-inch focal length and upwards.

As before said, 21 diopters is the strongest
lens of the simple spectacle type that we can
recommend. If greater power is required it is
best to get a corrected supplementary lens spe-
cially suited to the original objective, and the
makers of this original are best capable of advis-
ing in regard to the particular type of lens suit-

THE WORKROOM

449

able. In the case of anastigmats it is always
advisable to consult the makers, as some forms
of such objectives can very readily be upset as
regards their corrections. — British Journal of
Photography.

Retouching

When the millennium arrives it is probable
that a photographer will please his patrons with-
out resorting to retouching; but, except a few
fortunate mortals, all photographers are obliged
at the present time to do more or less after-work
on their negatives. The reasons for this are two-
fold: first, to correct defects in the plate and
manipulation — though this might more properly
be classed as "spotting;" and, secondly, to tone
down those details of feature, etc., which the
camera is apt to exaggerate.

There is no royal road to retouching, and
there are no trade secrets in it. Care, close
attention, and lots of practice are very necessary,
and the retoucher should have all the general
art knowledge that he can obtain; and, most of
all, the man who would really excel must have a
fine sense of restraint and know when to stay his
hand. The essentials for retouching are few.
The retouching desk is a sloping board to stand on
a table, with a small hole cut in it. The negative
is placed over this hole, resting on a little ledge
which is fastened to the board, and held in place
by a metal clip-spring or other simple means.
The hole in the board allows light to be thrown
through the negative, and so secures a good
illumination. Either daylight or lamp may be
used, and a mirror reflector will direct the light
to the right spot. A pencil of the best quality
should be used — either Hardtmuth's or Faber's
will do very well — and it should be sharpened
to a very long, fine point. After sharpening with
a knife, finish the point by rubbing on sandpaper.
The pencil-point will not "bite" on the surface,
and so a retouching medium is used to give the
negative film a slight roughness. A retouching
medium is thoroughly dissolved together and

Gum dammar 6 gr.

Rectified turpentine 1 oz.

filtered through absorbent cotton. I have not
trbd it, as I use a somewhat similar varnish
which I find quite satisfactory. Mix powdered
resin in turpentine to about the thickness of
cream. If it is found too thin on the negative,
stand the bottle in the window with the cork out,
and the turpentine will soon evaporate until it is
of the desired thickness. If too thick, of course
it may be thinned with more turpentine. To
coat the negative, take a wad of silk rag, or of
very soft, clean chamois leather which has been
repeatedly washed, and moisten it with the
varnish and rub it gently on the film. Rub it
with a circular motion. If cotton wadding is
used the "hairs" stick to the varnish and cause
trouble, and a linen or cotton cloth may scratch
the film.

Before entering on retouching it is well to be
sure of one's eyesight. It is very trying work, and

requires not only a steady, strong eye, but a
delicate hand as well. The stroke given with
rhe pencil is so short that it is generally made
with a slight vibratory motion of the finger and
thumb, the wrist not being called into play.
The elbow should rest on the edge of the table
to give support, and for the most delicate work
a mahl-stick should be used to support the wrist,
being held, of course, in the left hand. Sit
squarely up to the work — don't bend over it too
closely; that is good neither for the eyes nor the
health.

The especial touch to be used in retouching
is largely a matter of preference, or, perhaps, of
habit. Many touches are recommended. Some
people suggest a mere succession of dots with
the pencil; others suggest curved lines, or cross-
hatching, or other special preference. More
important is to know exactly where you want
your touches and what result you are aiming at.
The touch will then come of itself, to a large
extent. Before going into details of a face, I
may just caution the retoucher to be very careful
to study the exact shape of his lights. Take, as
an example, the nose. We often see a photograph
with a straight, brilliant strip of light running
from the root to the tip, where it expands into a
larger spot. Now, the nose is really composed
of three sections. First, there is the bone for
about one-third of its length. This is continued
as gristle, and at the point of connection the
band of light is generally bent; and, lastly, there
is the fleshy end of the nose, where the light again
changes. The modelling, too, of the temple, of
the cheekbone — in fact, of every detail — depends
on proper appreciation of the shapes and values
of the different areas of light. A good modelling
is very essential. Retouching gives an added
roundness to the face or figure. Before com-
mencing to retouch, obtain a proof-print from
your negative; compare it with finished prints
from retouched negatives, and mark where it
fails. There will appear many slight defects.
The wrinkles or curves at the corners of the
mouth generally require toning down, and if, as
is sometimes the case, they have a downward
trend, they should be straightened or turned
upward. A mouth curved upward at the
corners gives a pleasant expression. A down-
ward curve gives the reverse. The lips, being
red, naturally tend to take darker than they
should do. Notice these carefully in the proof.
There will probably be three depths of shade
in them, and these relative depths must be pre-
served. A little accentuation of the shape of the
lips can be done. In theatrical work the lips
and teeth sometimes are subject to considerable
modelling. The eyes share with the mouth in
giving expression to the face, and in the eye
great care is required. It is generally a great
mistake to lighten the white of the eye, run a
decided line around the iris, and then darken
the pupil, though this is often done. This
darkening of the pupil is done with a needle,
making tiny holes in the film to let light through.
And here we may say that darkening or "cutting
away" is very useful in photography. With a
really sharp knife, and care, high-lights can be
pared down and a good deal of control exercised.

450

THE WORKROOM

If there are many conflicting reflections in the
eyes, work out most of them. The eyelashes
are often scratched in, and done very badly. We
do not see the separate lashes as we look at a
person; they are either in even shades or in
small masses. In working round the big masses —
the forehead and cheeks — don't get too much
light. Gradually soften down in working away
from the highest light, and do not encroach to
much on the shadows at the sides of the face.
They give modelling and relief to the portrait.
In cases of ladies in low-cut dresses — especially
if the subjects are very thin — it will be necessary
to tone down certain muscles, as the one leading
from the ear to the breast bone and the hollow
at its insertion into the bone. In this case the
knife may darken and the pencil lighten to over-
come undue contrast.

There is a custom now which is being carried
to undue extremes to accentuate a shadow
between the breasts. This should rather be
suppressed, giving the appearance of bringing the
chest forward. The touching of hair requires
some little knowledge. Hair is frequently out of
focus, and requires sharpening. To lighten hair,
the light should be worked in patches. Light
is not reflected from hair in the direction in which
the hair lies, but generally forms a band or patch
across it. The shape of this band varies, but it is
generally wavy or zigzag rather than a straight
line. It is a mistake to run lines in the direction
of the hair; instead of merely lightening it, this
gives the impression of grayness. Remember
not to over-touch the hair. The spots of light
should be neither too large nor too many, and the
dark parts of the hair will be for the greater
portion.

The dress often calls for retouching. In getting
a correctly-exposed plate of, say, a lady's head
and shoulders, the dress may be over- or under-
exposed, according to its color. Observation
and practice will suggest the right touch; a dress
of soft clinging texture will call for curves very
different from the stately lines of a silk wedding
dress; and the lighting on velvet is characteristic
of the material, and differs from the lighting on
a cheaper plush. It is very seldom that velvet
reflections are pure white light, and care should
be exercised to avoid overdoing them. In laces,
etc., do not pick out every thread of the pattern;
indicate it as delicately as possible. This applies
to all parts of the dress, where practicable.
Many ladies wish for a record of their dresses,
and, of course, it is essential to render them
faithfully; but the face is, after all, the center
of attraction.

Random Notes

To find the focus of a magnifier required in
any case, the focus of the combined lens required
is multiplied by the focus of the lens to which
the magnifier is to be fitted, and the result is
divided by the difference. Thus, if we have an
8 inch lens, and wish to make it a 6 inch one, we
multiply 8 by 6 and divide the result, 48, by 6
subtracted from 8 — that is, 2. As 48 divided
by 2 gives 24, we learn that a magnifier of 24
inch focus will make the 8 inch lens a 6 inch one.

Copies of any patent can be obtained from the
Commissioner of Patents, Washington, D. C.
Price, five cents each.

M. P. Machine. H. M. Connor and D. D. Miles.
1234136.

Photographic Camera. Harry L. Ide. 1234339.

Apparatus for Washing or Developing Photo-
graphic Plates and Films. R. Kersten.
1234346.

Air-brush. C. H. Parkin. 1234378.

Process for Recovering Silver from Weak Photo-
graphic Solutions and Emulsions. F. F. Ren-
wick and B. V. Storr. 1234391.

Print-drying Machine. W. E. Stromberg.
1234410.

Printing-frame. E. W. Sewigard. 1234416.

Film-handling Device. C. F. Jenkins. 1234545.

Blue-printing Machine. F. F. Metzger. 1234554.

Photographic Developing Tank and Rack. B.
M. Dickson. 1234641.

Method of Thickening or Drying Solutions,
Emulsions, etc. P. Askenasy. 1234714.

Film-holder. F. W. Pratt. 1234800.

Photo-engraving Method. W. Eppers. 1234888.

Automatic Film-feed. C. Spiro. 1235073.

Camera. W. D. Marshall. 1235222.

Release Mechanism for Photographic Shutter.
Andred Wollensak. 1235273.

Flash-light Apparatus. Oliver A. Bradshaw.
1235282.

Photographic Camera. H. L. Ide. 1235320.

Projection Apparatus. A. Ames. 1235752.

M. P. Projecting Machine. F. L. Dyer. 1235776

Method of and Apparatus for Marking Photo-
graphic Materials. A. A. Rutten. 1236007.

X-ray System. C. E. Campbell. 1236051.

Photographic Plate Holder. S. A. Mischansky.
1236201.

Film-feeding Mechanism for Cameras. L. F.
Corrodi. 1236271.

Cinematographic Apparatus. J. Kleidman.
1236319.

Aviator's Camera. W. F. Folmer. 1236419.

M. P. Film. W. E. Williams. 1236639.

Printing-frame. C. De Marcus. 1236683.

X-ray Apparatus. J. W. Wantz. 1236792.

View Record Mechanism. F. J. Bulask and F. J.
Koellar. 1236819.

Lens. M. Zwillinger. 1236895.

Photographic Apparatus. O. V. Greene.
1236928.

Device for Cleaning Films. A. S. Howell.
1237047.

Automatic Film Control. H. H. Heckman.
1237333.

Loading Device for Cut-film Frames. A. M.
Schoenberg. 1237563.

Photographic Developing Apparatus. R. Kroe-
del. 1237657.

Printing-frame. J. A. Robertson. 1237701.

CENTS A COPY

THE PHOTOGRAPHIC
JOURNAL OF AMERICA

VOLUME LIV

NOVEMBER, 1917

PiPiP P f\F\f\F

By Roger B. ^Vliitman, New York

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J?"*/ Muse^

HAS THE QUALITY CIRCULATION
OF THE PROFESSION

-HP. OLDRST PHOTOGRAPHIC MAGAZINE IN AMF.RIC A .

In 1 909 it was stated of

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"Each grade of Cyko has more latitude,
plasticity, chromatic rendition and proper
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and yet its scope has been enlarged
every year since, so that itl 19 17 it

CYKO is the single and universal expression
of photography today

Ansco Company

Binghamton, N. Y.

CATHEDRAL OF ST. JOHN THE DIVINE. NEW YORK

BY ROGER B. WHITMAN
NEW YORK

PHOTOGRAPHIC
•JOURNAL-
S''AMERICA •

VOLUME LIV

NOVEMBER, 1917

NUMBER 11

THE OIL TRANSFER PROCESS1

By ROBERT DEMACHY

ALL photographers know that the

J-\ collotype process consists in inking

a relief produced by the action of

light on bichromate-sensitized gelatin,

and in printing with this inked relief on

paper by means of a press.

Mr. Rawlins stopped at the first
stage. Really oil prints, from a technical
point of view, are nothing else but col-
lotype plates of a sort waiting for the
pull.

The superiority of this oil process
consists in the manner of inking which
affords the operator a magnificent liberty
of control. Its inferiority is due to the
impermeability of the gelatin film on
the surface of which the printing ink,
which is intended for ulterior dissocia-
tion, remains entire, a mixture of pig-
ment and oil, and in the peculiar aspect
of this gelatin surface which when left
uncovered, or when thinly covered, adds

1 A paper read before the Royal Photographic
Society of Great Britain.

nothing to the beauty of the picture, not
to say made it worse, to say the least.

Artists in black-and-white do not
use double-transfer paper for printing
their etchings, their dry prints, or their
mezzotints; they have good reasons for
preferring Dutch or Japanese paper.
The same reasons have made me anx-
ious from the very outset of my work
in oils to take advantage of hand-
made paper as a substratum for my
pictures; in other words, to go a step
further in the collotype process, and to
use my pseudo plate as a printing
plate. But I was deterred for a long
period from any experiments in that
quarter by the terrifying prophecies
of divers experts in collotype, who pre-
dicted a series of dire catastrophies
culminating in the final amalgamation
of gelatin and transfer paper. Really
these gentlemen did me good service,
for I doubt if my experience in oils
would have been at that time equal to
the task I have since then undertaken.

(451)

452

THE OIL TRANSFER PROCESS

My first experiments were made in
unfavorable circumstances. I had no
press of any kind, and was obliged to
use one kindly lent by one of my friends,
an etcher, whose studio was far from
my workroom — far enough to make me
fear that my prints would dry during
the journey.

I chose No. 118 Illingworth double-
transfer paper, whose film takes the
ink well and holds it badly, gave a
short exposure, inked the prints liber-
ally, and rushed them to the printing
press packed in an elaborate arrange-
ment made of cardboard, corks, and
wet blotting paper. There was a good
deal of unavoidable delay at my friend's
studio, and the prints were not passed
under the cylinder until more than an
hour after they had been inked. Nearly
all the deepest blacks remained on
the gelatin, but the half-tones were
splendidly transferred. The transfer
paper stuck to the gelatin in several
places, but it was ancient Japanese and
liable in all cases to lose its fiber. On the
same day, in the afternoon, I made a
second trial with better success, and
though my transfers were far from
perfect, still they showed novel qualities
that were sufficiently suggestive to in-
duce me to buy an engraver's press and
to begin a series of experiments which I
pursued strenuously from December to
March, when I showed some transfers
at the exhibition of the paintings of
the " Artistes Amateurs" Society in
the Champs Elysees. Since then I have
shown several at the Photo Club Salon
and about fifty examples at a private
show at my studio in Montmartre,
where I had the opportunity of profit-
ing by the advice and criticisms of
a number of artists in black-and-
white.

The process is, like all difficult pro-
cesses, simplicity itself. You ink a
print on double-transfer paper, cover
it with damp paper, and press both
sheets together with some appliance
or other— in my own case with an en-
graver's press. Separate the sheets and
you will find that the ink has been
transferred from the gelatin to the
paper; but not always with perfect
success, certain conditions being neces-

sary for the maintenance of a satisfac-
tory average.

I would like it to be understood before
entering into technical details that the
instructions I am now giving in regard
to the working of transfers are any-
thing but dogmatic; I am simply telling
you how the pictures that are on view
this evening have been made; and I,
first of all, admit that there are a
hundred and one other methods of
making them. In fact, any strong or
prolonged pressure, from that of the
office copying press to that of the
steam hammer, will make an oil pic-
ture pass from gelatin to paper; and
any sort of paper, rough or smooth,
sized or unsized, damp or dry, will be
ready to receive it. There is no secret
formula about this, nothing but a
recognized physical fact. But, on the
other hand, if we have formed before-
hand a special conception of what the
transferred picture ought to be, if we
have been prudent enough to build up
an ideal, then the trouble will begin.
It is not simply for the pleasure of an
excursion into the unknown that I have
studied the transfer process, but be-
cause of certain qualities in certain
transfers that I had not found else-
where. But these qualities do not
exist necessarily in a transferred oil
print.

They are the results of certain condi-
tions which at first I failed to recognize,
and which, when recognized, I found
very difficult to reproduce with any
degree of certainty. For instance, I
can say that the velvety quality of the
blacks in a successful oil transfer is
due (1) to the nature of the negative;
(2) to the degree of exposure received
by the double-transfer print; (3) to
the manner of inking the print; (4)
to the nature of the transfer paper;
(5) to the degree of moisture; (6) to the
degree of applied pressure.

An error in one of these conditions is
sufficient to impair seriously the quality
of the deep shadows of the transferred
picture. But even if everything has
gone wrong and the beginner has sinned
six times, he will still produce a trans-
fer; and of course it will be that de-
scription of transfer that will give the

THE OIL TRANSFER PROCESS

453

process its average reputation. It has
been so with oils and before that with

gum.

The Negative

Gum bichromate allows of a consid-
erable latitude in the kind of negative.
There are now and then happy acci-
dents, so to speak, that enable one to
obtain a good picture from an indiffer-
ent negative. In the case of oil prints
this latitude is narrowed exceedingly,
yet certain defects of the negative may
be effectively hidden by a clever worker
(note that I am not alluding to photo-
graphic values, but to the result of
over- or under-exposure or of badly
conducted negative development). With
the transfer process the margin is still
narrower.

In order to produce a mellow, velvety
transfer one simply cannot do without
an excellent negative, a better one
even than the oil process demanded.
It must be strong, detailed, and clear.

The Gelatin Papers

On this subject, as on several others
later on, I shall be obliged to keep
within the limits of my own experience.
I do not know how bromoil papers will
behave for transfer work, never having
inked a bromoil print in my life. The
papers I habitually use are Lamy,
Illingworth, and Autotype double-
transfer papers. They all work beau-
tifully, though some can furnish a
greater number of pulls than others.

Inks

It is the same with inks. I have tried
quite a number of samples and have
ground special inks myself (I have not
had the opportunity of trying the
English specimens of oil paints), but
finally have come back to those I have
been using for the last four or five
years, Taille Douce and lithographic
encre machine, to which I add collo-
graphic ink in various proportions.

In fact it is the Taille Douce ink
that gives the richest tones, but it is
not tacky enough to be employed pure.
It is better mixed with collographic or
lithographic ink.

Papers for Transfers

Any kind of paper will take a trans-
fer, and interesting experiments may
be made with unusual brands. I have
a preference for Dutch Van Gelder
paper and for French Arche paper.
There is a sufficient variety in grain,
degree of sizing, and color in both the
Van Gelder and Arche papers to meet
all requirements.

The Press

I use a copper-plate press for my
transfer work; but other photographers,
M. Billard for instance, have made
experiments with an ordinary copying
press. The results are somewhat dif-
ferent; up to now I still prefer the
effect of linear to that of platen pres-
sure. This last style of pressure will
succeed better with the majority of
photographers because it reproduces
detail with superior sharpness.

Exposure and Inking

Whatever sort of press has been
adopted, certain precautions have to
be taken in the exposure and inking
of the oil print. The exposure must
be short. Of course there is a limit, and
that limit is the subsequent impossi-
bility of making the ink take elsewhere
than in the shadows of the picture.
But it is from this limit that the time
of exposure must be worked up to
normal. Avoid over-exposure, above
all, for transfers from over-exposed oil
prints, even if the print has been
worked up to what appears proper
contrast by skilful local manipulation,
will be soft, woolly, and insipid.

But even a properly exposed print
from a good negative will not yield
a satisfactory transfer if it has been
inked according to the habitual stand-
ard. Usually at this point it would be
pinned on to a drawing board and set
up to dry; but, if it is intended for
transfer, the shadows and especially
the darkest blacks must now be over-
charged with ink. If not they will
come out gray on the transfer paper.
On the contrary, the half-tones and
high lights will be left just as they are,

454

THE OIL TRANSFER PROCESS

for they will pass as they are from
gelatin to paper. The explanation of this
peculiarity will be found in the beha-
vior of different layers of ink according
to their level. The ink layers covering
the gelatin reliefs being thinner and
also at a higher level than the rest
will pass easily on to the transfer paper.
It is the same thing with semi-high
lights and half-tones, but the deep
blacks being on a lower level sustain
less pressure and are less in contact
with the transfer paper. Their sur-
face must be raised by extra inking to
that of the half-tones. Other factors
come into play, but the most important
are no doubt those above described.

Still, even though the exposure and
inking have been successful the trans-
ferred picture may be bad, if the trans-
fer paper has been wetted too liberally.
It is difficult to express in words the
precise degree of dampness required.
Only repeated trials will enable us to
ascertain this. That is the worst side
of pictorial processes — one cannot write
out a nice compact formula for the use
of indolent workers. I can only say
that the transfer paper must be allowed
to dry to the point of having lost all
visible surface moisture, but without
any dry patches being apparent when
held against the light. It must be
supple and cool to the touch, and with-
out any tendency to cockle.

But I hasten to add, in order to
suppress ulterior discussion, that ab-
solutely dry paper will take a transfer
easily; the result, however, will not
be the same, and the difference will
be perceptible to any artist who has
worked at transfers for some little time.

The importance of a correct degree
of moisture in the paper will be evident
to anyone who has some idea of the
reasons for which a transfer takes
place. There must be some reason for
the ink to quit one support for another.
If there were none, no amount of pres-
sure would enable us to make an oil
picture pass bodily from gelatin to
paper. It is easy to explain this state
of things, without explaining anything
at all, by ascribing it to a matter of
affinity. But as this affinity changes
according to the degree of moisture,
and as we know by experience that

wet paper loses all affinity for ink, we
may draw the following inference from
the above fact, viz., that water repels
greasy ink, and that a transfer can
satisfactorily take place from gelatin
to paper only when the paper is less
wet than the gelatin.

But it does not follow that the drier
the paper the finer the result. There
is an intermediate degree, between wet
and dry, which adds to the complete-
ness of dry transfer the mellowness of
damp transfer.

May I venture to answer, before they
are made, certain criticisms that are
easy to foresee? It will be said that
transfers from oil prints are not photog-
raphy. I admit that the pigment on
my transfers has been fixed on paper
by pressure, and not by the direct
action of light. But this pigment has
been bodily transferred from a relief
produced by the direct action of light.
In the carbon double-transfer process
the final transfer paper has not been
sensitized either, the only difference
being in the fact that the pigment in
the carbon process is mixed with the
gelatin before light action has taken
place, while with oils it is applied
after. The fact of passing a photo-
graph from one support to another
is not enough, I should think, to rob
it of its name.

Lastly, the peculiar aspect of these
transferred oil prints will probably
shock these same photographers who
disfigure their negatives with paint,
methylated spirits, pumice stone, and
penknife work to such an extent that
renegades like myself hesitate to recog-
nize them in their latter state as nega-
tives. They will accuse me, no doubt,
of plagiarizing engravings, because of
a print mark somewhat like a plate
mark, which is unavoidable, and be-
cause I use engraver's ink and Dutch
paper. It must have been much worse
in the "fifties" for the first photog-
raphers who printed on salted paper
after the Daguerre silver plate was
superseded. All new processes are anti-
photographic until a newer one comes
in, and this one is our old and ugly
friend, collotype, partly modified as to
the method of inking for the use of
pictorialists, but still collotype.

THE PROFESSIONAL PHOTOGRAPHER AND
THE REFLECTING CAMERA

By C. H. C.

IN case there are some whose atten-
tion has been so strictly confined to
the gallery end of the business that
they have no knowledge of a mirror
camera, let it be said that a mirror
camera is one which has a horizontal
ground glass, and a mirror, set at an
angle, which reflects the image formed
by the lens to this horizontal ground
glass. This ground glass is the same
distance, optically, from the lens that
the focal plane is. Over the ground
glass is erected a hood, through which
the operator looks. The mirror acts
as an erector for the image, turning it
right side up. The distances being
the same to ground glass and focal
plane, the image, as viewed through the
hood, is the same size as the finished
picture.

When a picture is to be taken, the
operator focusses the lens by turning a
convenient milled head, watching the
full-size, right-side-up image on the
ground glass, through the hood. When
it is as he wants it, he presses a button.
This button releases the inclined mirror,
which flies up out of the way, closing
off the ground glass and making a light-
tight joint. When it is seated, and not
before, it releases the previously set
focal-plane shutter. The "lag" in time
between pressing the button and the
release of the shutter is a very small
fraction of a second — possibly a twenty-
fifth, so the picture is made just as it
is seen, at the time it is seen, on the
ground glass.

This, in effect, is the reflecting type
of camera. On this side of the water
the most prominent example is the
Graflex. The advantages of a focal-
plane shutter have already been dis-
cussed by me in these columns, so
nothing further need be said on that
head, except to remark that all that
applies to a focal-plane shutter in any
camera applies to it in a reflecting
instrument.

Now, it should not need much demon-
stration to see that for any subject which
is in motion, or liable to move, an instru-
ment which allows focussing to be done
to within one twenty-fifth of a second of
making the exposure puts a great power
in the hands of the photographer. Two
men making pictures of a dog. As
fast as the one gets his tripod instru-
ment set up, focussed, slide drawn, and
is ready to press the bulb, our canine
friend gets up and lies down three feet
nearer the camera. Or he moves out of
the line of vision — and in either case,
refocussing and the same with the "fo"
left out becomes essential. The other
man, with his hand camera, merely
adjusts the focus while looking at the
dog, and presses the button as soon as
his dogship assumes the position desired.
If the position is but momentary, it is
long enough. I remember some experi-
ences with sheep, than which no more
nervous and un-stand-stillable animal
exists, in which a Graflex produced
picture after picture that set the owner
frantic with delight, while a stand
camera failed utterly in everything ex-
cept frightening the timid animals out
of what little sense they were provided
with in the first place.

When it comes to photographing a
jumping horse, the stand camera is all
right if you know which five-barred
gate he is going over, and can get
exactly where you want and focus on
the gate in the first place. But other-
wise, if you are not absolutely certain
that the horse is going to occupy a
given position in the atmosphere at the
time you want to make the picture, you
are necessarily quite helpless without a
reflecting camera.

And as for children! If you do child
work in the studio, you have no need of
any one to write an expose of your
troubles. But if you have tried children
in natural surroundings with a stand
camera, you may be glad to have some

(455)

456 PROFESSIONAL PHOTOGRAPHER AND REFLECTING CAMERA

one voice the complaint every one makes
of such pictures: If without motion,
they are stiff and unnatural—the sitters
knew they were being photographed;
if natural in pose and expression, they
are either out of position or show move-
ment. With the reflecting camera in-
doors it is frequently possible to photo-
graph the squirming baby, because of
both the ability to focus a squirm and
get enough light on it — combination of
mirror and focal-plane shutter. Out-
doors you can loaf about with playing
children and picture them, time after
time, when they are unconscious of your
work. The result is the kind of picture
that sells.

Now, I would not pretend for a
moment that just because you expend
good money for a reflecting camera you
are bound to die rich, or that you
will have trouble dodging the dollars
and finding time to write up your
order-book. But if your town is like
other towns, and if your customers are
of the same kind as most people's
customers, you will find that just as
your equipment provides for varying
and various kinds of work, so you will
have various and varying kinds of
work to do.

You will not experience any particu-
lar difficulty in learning to manage a
reflecting camera; but you will have to
revise your system of outdoor timing,
since focal-plane exposures are faster,
light for light, than other kinds of
shutters. You will also have to learn
to allow for the tiny fraction of a
second of "lag" between pressing the
button and the release of the shutter,
but this only in very fast movement.
You will have to learn the allowable
speeds for various degrees of movement,
at different distances from the camera
and at different angles — a matter of
small difficulty — from tables provided
for the purpose.

You will not have to learn the con-
venience of the instrument. Once you
have used it you will want to take it
straight to your studio and use it there;
nor, if you have a fast lens and a good
light, is there any reason why you can-
not use it there. In fact, the use of the
reflecting camera in the studio for baby

and pet animal work is one of its great
recommendations to the professional,
since by its aid he can obtain pictures
utterly impossible — or at least, extremely
difficult — with any camera in which a
measurable interval of time must expire
between focussing and the release of
the shutter.

You will wonder, perhaps, at my
saying that snapshots in the studio
can be made with the reflecting camera
held in your hands; but as it is not
only feasible, but perfectly easy to make
such snapshots with such a camera, in
an ordinary light front room, there
should be no difficulty whatever under
the light.

Of course, you cannot screen down
your light and get Rembrandt effects
and expect to use a mirror camera at
even its slowest speed and with the
fastest lens and get fully timed nega-
tives. But with an uncurtained light
and a good lens, and a bright day, you
can use the focal plane at one-tenth to
one-twenty-fifth of a second, see what
you are doing on the ground glass, press
the button when you see what pleases
you, and be sure — particularly if you
use the tank — of a well-graded, fully
timed, properly developed negative.

When you think of the ability this
puts in your hands, the facility with
which you can walk all around not only
a baby, but a grown-up sitter, observing
any change of expression and any altera-
tion of expression, with the ability to
take what you see the instant it appears
and before it is gone in another change,
you will realize what the mirror camera
does for you.

That it is not more used is nothing
against the instrument, but an argu-
ment against the ignorance of its possi-
bilities which generally obtains among
a large proportion of the profession.

Yes, they cost money. The makers
don't give them away. And a fine lens
costs money. And the spending of it
in a tool or appliance of this kind,
which can be made to pay dividends in
so many differing ways, is one of the
surest assurances that the money you
want to make is hiding around the
corner, only waiting your invitation to
come forth.

BY ROGER B. WHITMAN

NEW YORK

By ROGER B. WHITMAN
NEW YORK

By ROGER B. WHITMAN

NEW YORK

iiiC:' "'•'■•.^ ~

By ROGER B. WHITMAN

NEW YORK

A DEVELOPER FOR PRODUCING PRINTS OF
EXCEPTIONAL BEAUTY

By "CHEMIST"

DURING the past three years a
great deal of experimenting has
been carried on with a view to
obtain a suitable developing agent that
would replace metol, a chemical which
the United States has hitherto been
entirely dependent upon Germany to
supply. The combination of this chem-
ical with hydroquinone (oxybenzine)
had become almost universal. Metol,
whose chemical name is monomethyl-
paramidophenolsulphate, has been sur-
passed, particularly in first cost, by the
following chemical : Paramidophenol-
hydrochloride, sometimes called kodelon.
Next to pyrogallic acid an iron developer
was brought out to dry plates and paper
by M. Carey Lee, and W. Willis, some
years ago, by using protosulphate of iron
with potassium oxalate. The following
developer differs materially by using
ammonium oxalate with free oxalic acid
and pure ferrous oxalate, all of which
chemicals may be made in America from
American material, while the potassium
oxalate was another ferrous product.

Although ferrous oxalate in combina-
tion with potassium oxalate has been
used for developing purposes (in a per-
fectly neutral state), the use of the ammo-
nium salt in combination with a free
acid is a new combination for photo-
graphic use. A considerable number of
tests have been made extending over a
year, to prove the thorough practica-
bility of the combination as a reliable
photographic developer, both for paper
and lantern slides, rendering a delicacy
and beauty hitherto not attained.

An Acid Iron Black Developer

Ammonium oxalate
Ferrous oxalate
Oxalic acid

2 oz. av,

3 dr.
1 dr.

Dissolve the above in 12 ounces of
boiling water in an enamelled saucepan.
Stir until the liquid assumes a deep
orange color, then add 8 ounces of cold
water and 2 drams of pure alcohol (not

denatured, or weak alcohol). As soon
as the liquid has become quite cold it
will be ready for use.

Developing Prints with the Above

Pour 5 ounces of developer into a clean
tray, expose the paper in the usual way
upon a negative, either by artificial or
weak daylight, then under a yellow or
orange-colored light, place the exposed
paper into the developer, rock the tray
slightly, when the image will appear
in the course of two or three seconds.
Ten or fifteen seconds will complete the
development. Remove the print, drain
off the developer quickly, and dip the
print completely into a tray of acid water
composed of:

Water

Acetic acid, No. 8

12 fl. oz.
1 fl. oz.

Remove the print quickly and place
into the fixing solution, composed of:

Hyposulphite of soda
Water ....

4 oz. av.

20 fl. oz.

Change the prints over and over in
this bath for a period of from five to
eight minutes, so as to ensure perfect
fixing, then wash them in another tray of
clean water, allowing the water from
the faucet to run over them for fifteen
minutes, then place them into a clear
solution composed of:

Powdered alum
Water . .

1 oz. av.
20 oz.

Five minutes in this will harden the
surface of the print, when they must be
washed for a quarter of an hour in
running water. They may then be re-
moved, blotted off, and dried.

When prints made upon glossy papers
are developed with this developer they
present unusually brilliant blacks in all
the shadows, and uniform in quality
throughout. This preparation is essen-
tially a paper print developer, although

(461)

462

PRODUCING PRINTS OF EXCEPTIONAL BEAUTY

fine lantern slides may be developed with
it. It may be used until exhausted. It
should be kept in a white glass bottle,
because it deteriorates somewhat when
kept in an amber-colored bottle. As
it becomes exhausted, it returns to the
color of water, quite unlike the organic
developers which become discolored even
to blackness by use. There is a very
valuable point to be considered in the
use of this developer. It may be reno-
vated in developing power repeatedly
when exhausted. By reheating the
mixture in an enamelled saucepan to
boiling-point, including any deposit
formed, then by adding 2 or 3 drams
of ferrous oxalate to the hot mixture,
the salt dissolves freely, and the solu-
tion becomes a deep orange color again,
and when cold it will develop with as
much energy as it did in the first place.
The intense blacks of the prints devel-
oped in this reinforced developer will
be of a fine blue-black in place of a jet-
black. This operation may be repeated
several times, thus it forms a very
economical developer, which in the long
run makes this developer one of the
most economical. Ammonium oxalate
and ferrous oxalate may be readily
made by anyone desirous of doing so in
case these chemicals are not readily
procurable.

Making A mmonium Oxalate

Prepare a saturated solution of oxalic
acid in hot water in a stoneware vessel.
Add thereto powdered ammonium car-
bonate, stirring with a glass rod thor-
oughly between each addition. Strong
effervescence will take place, add re-
peatedly the carbonate until efferves-
cence ceases. Stand the vessel aside
for twenty-four hours, when it will be
found that a crop of beautiful white
crystals have formed, occupying fully
half the vessel. Drain off the clear
liquor, preserve this in either a glass or
stoneware vessel, allowing this to evapo-
rate spontaneously, so as to obtain all
the ammonium oxalate formed. The
first batch after well draining may be
spread out upon white blotting paper,
to dry in a warm place. When dry these

crystals constitute ammonium oxalate
(NH4)2C204 + H20.

Making Ferrous Oxalate

Dissolve in 3 pints of warm water, 1
pound of protosulphate of iron, stirring
occasionally until all the crystals are
dissolved. In 3 pints of warm water
dissolve \ pound of oxalic acid. As
soon as this salt is dissolved and both
solutions have become cold, add the
oxalic acid solution to the protosulphate
of iron solution, stir the mixture well,
and allow to stand for several hours.
The bright yellow precipitate formed
is ferrous oxalate. Pour off the clear
liquid, add more cold water, stir well,
then when settled again pour this water
off, add a second lot of water. As soon
as the precipitate has settled again,
pour the whole into a filter paper placed
in a glass funnel (a filter paper may be
made out of a sheet of white blotting
paper), pour cold water over this a
few times to secure complete washing
of the precipitate; when drained well
for about twelve hours, turn the pre-
cipitate out upon folded blotting paper,
spread it out, allow it to dry in a warm
place spontaneously. As soon as it is
quite dry it may be crushed to powder
with a bone knife or a wooden ruler
with ease, because this product is very
friable. The resulting powder is fer-
rous oxalate, FeC2042H20, which when
mixed with the ammonium oxalate, as
described, will produce the developer
from the formula given. The propor-
tions given will yield 10 ounces of
ferrous oxalate.

If it is desired to restrain the action of
the developer and cause it to act slower,
then by the addition of 10 grains of
common salt the restraining action will
be very decided; care must be exercised
in using any restrainer, especially potas-
sium bromide, which acts very power-
fully, in fact 5 grains of this salt would
stop the developing action entirely.
Restrainers will alter the color of the
deposit of the print inclining to a brown,
in fact, brown-black would be the color.
If restainers are used then the time of
exposure must be increased. Plates
developed with this developer, for use

PERSPECTIVE FOR PHOTOGRAPHIC ARTISTS

463

in the optical lantern, will appear to
be somewhat thin ; the delicacy and well
rendering of every detail, however, is
superb. These plates may be intensi-
fied to almost black-and-white by the
use of the following intensifier, which
will leave nothing to be desired:

Intensifier for Lantern Plates

Water 15 fl. oz.

Bichloride of mercury . 60 gr:
Common salt (chloride of

sodium) 60 gr.

The lantern plate must be well
washed previously to rid the film of all
traces of hyposulphite of soda. Then
place the plate into the above, let it
bleach white all through, remove it, and
wash it well under the faucet, lay it face
up in a clean tray, and pour over it the
following solution, stirring it well before
use:

The Blackening Fluid

Water ....
Strong water ammonia

5 oz.
| fl. oz.

In the course of four or five seconds
the bleached plate will blacken all
through the film. It should then be
well washed under the faucet for ten
minutes, then placed in a rack to dry,
when it will be ready for mounting
for use in the lantern. Films developed
with this developer, especially moving-
picture films, produce a very delicate
image, with every minute and weak
detail rendered with more decision than
the usual developers give. Intensifi-
cation of such films, however, will give,
where intensified by the formula given,
either negative or positive films of a
very superior quality, capable of ren-
dering upon the screen, transparency of
effect, in place of the crude black and
muddy high-lights so often seen in
moving-picture displays. An excellent
restrainer for this developer, and one
that causes a perfect rich-brown deposit,
is produced by the addition of a few
drops of a 10 per cent, solution of phenol
or carbolic acid.

PERSPECTIVE FOR PHOTOGRAPHIC ARTISTS

Bv ARTHUR WHITING

TO enable the photographer to
insert pictorial backgrounds on en-
largements a knowledge of the laws
of perspective is often required, and we
give below a few rules for reducing simple
objects (as interiors) to perspective.
As everyone is aware, the further off
an object is from the eye the smaller
it appears, until even large buildings
become mere specks in the distance and
finally vanish entirely. The point at
which they disappear is called the van-
ishing point (V. P.). For instance, if
we gaze upon a perfectly straight and
level track of railway lines from the
center of the track, the lines appear to
become smaller and nearer together
until they meet at a common point
and then vanish altogether. If we now
repair to the left-hand side of the track
and stand a little away, looking toward

the track, we notice the rails appear to
rise higher and get closer together the
further they are from the eyes. They
rise (or appear to rise) higher because
they are below the level of the eyes, but
they do not rise above the level. But, on
the contrary, the telegraph wires which
are above the level of the eyes, appear
to descend the more they are away
from us, and the posts appear shorter
and shorter, until both posts and wires
(if we can see far enough) apparently
meet the rails on a level with the eyes,
and then vanish in the distance. This
is the vanishing point (V. P.).

If we now turn our eyes to the left
and view the surrounding objects we
find exactly the same thing happens, so
that we have vanishing points to the
right and to the left of us. Suppose
we try to depict these objects on a piece

464

PERSPECTIVE FOR PHOTOGRAPHIC ARTISTS

of paper, we at once find we are bound
by the limits of the paper, and the more
of the subject we want to get in the
smaller we have to make the scale of
our drawing. To make this clear
remove the back from an empty printing
frame and look through it, say, at a foot
away from the eyes. You see so much
of the scene before you; but hold it
two feet away and you see considerably
less, for the nearer you hold it the wider
the angle of view, and the further away,
the less it becomes. And so the size of
our drawing paper is our "picture
limit." (P. L.)

FIG. 1

Now take a lead pencil (Fig. 1, A),
place a short distance from an assumed
picture limit (B), on the other side of it
from the eye of the observer C. The
lines D and E passing through the P. L.
give the size the image will appear on
the picture at that distance from the
observer. Remove the pencil further
away, as at ^4^4, and then the lines
DD EE give the smaller size of the image
at this greater distance. This size of
the image as governed by the distance
it appears to be is called the "picture
plane" (P. P.), and the points C and the
extremities of A, or ^4^4, are the three
corners of the "visual angle."

The vanishing points for drawing a
picture in perspective are obtained
from the visual angle, and are placed
in their proper position on the line of
sight or "horizontal line," F, the details
of which we may easily learn from the
following object-lesson. Let us suppose
we have an enlargement with a white
or block-out background on which we
wish to draw an interior, say, the corner
of a room, with a window on one side,
the "elevation" of each wall singly
being as shown in Fig. 2, the height of
the walls to be represented as nine feet,
and that of the windows four feet and

four feet wide. On the floor we wish to
make a representation of a tile covering,
each tile being, say, 1 foot square.

The walls being at right angles to
each other, we draw a right angle on
the upper part of a piece of paper
(Fig. 3, ^4^4), the sides of which equal
in length those of the elevation (Fig. 2).

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FIG. 2

Next we take a strip of paper and
mark off the distances of the horizontal
ends of the panels, cornice, and windows,
by putting it against the elevation (Fig.
2) and transferring it to ^4^4, Fig. 3.
We now determine the position of the
"sitter," say, two feet forward from the
outermost extremity of right angle ^4^4,
and nearly one foot to the left of the
corner where the walls meet. Next
draw a vertical line (C) through S, and,
determining the eye of the observer
to be, say, twenty feet from the sitter
(S) continue it downward to that point,
0, according to the scale on which we
are working.

Then decide how much foreground
there is to be beyond the sitter, and
mark this distance (according to scale)
downward along the vertical line C.
Cut a horizontal line through C at this
point, and this we will use as our "picture
plane" line, P. P.

To find the vanishing points draw a
line D from 0 upward to P. P. on either
side of the vertical C line, and at an
angle of exactly 45 degrees therefrom,
so that the two lines D form a right
angle to each other. From the points
where these lines cut the P. P. line, viz.,
E and E, drop perpendicular lines to the
"horizontal line," the points where

PERSPECTIVE FOR PHOTOGRAPHIC ARTISTS

465

they meet this line are the "vanishing
points" (V. P.)- The horizontal line
will be that place which represents the
elevation of the lens from the floor in
taking the portrait of the person we
intend to apply our background to, say,
for instance, five feet. We will mark off
on C above point 0 five feet (according
to our scale), and a line drawn hori-
zontally (i. e., parallel with P. P. line)
at this point will be our "horizontal
line." m

Having obtained these landmarks,
draw lines from AA to P. P. line in the
exact direction of 0, to bring down to the

right angles to P. P. Now take a strip
of paper, and from the elevation (Fig. 2)
obtain the heights of the frieze, panels,
windows, horizontal line, etc., and trans-
fer them to the F line, taking care that
the horizontal point is placed where the
horizontal line in Fig. 3 bisects F. We
can now draw the horizontal lines of the
background by placing one end of the
straight-edge against these "height"
marks and the other against the V. P.'s.
Draw the left-hand side first, and com-
mence and end the lines according to
their places as shown by the vertical
dotted lines. In drawing the right-

FIG. 3

picture-plane line the horizontal distances
of the panels, cornice, and windows.
Note that they converge together, being
the dotted lines in Fig. 3 from AA to
P. P. When each line touches the P. P.
line, drop it perpendicularly to about
0. (In the figure, for the sake of clear-
ness, they are not taken so far. These
vertical dotted lines give us the correct
dimensions for the horizontal lines of our
drawing.

Next we must obtain the heights,
and to do this we must continue the
A A lines to P. P., and at the left-hand
side we will drop a line, F, downward at

hand side the heights for the window,
panels, etc., will be obtained by taking
dotted line from F to the perpendicular
corner of the room, in the exact direction
of the V. P. But actually in sketching
them in, you will draw toward the left-
hand V. P.

We will now do the tiled floor, and
as we determined on a one foot tile,
we must mark off their distances on A A
(as at G) and draw them toward 0 as
far as the P. P. line, where we mark
them off (H), then drop them perpen-
dicularly (not shown in figure) to the
lower angle of the room (J J), and from

466

PERSPECTIVE FOR PHOTOGRAPHIC ARTISTS

these points we draw lines toward the
V. P.'s, and so get the perspective of
the floor.

If we had not decided on an exact
size, an easier way would have been to
decide on the distance apart we pre-
ferred the nearest squares to appear,
and having marked off these points on
the bottom line of our picture, then
using K as our vanishing point, draw
lines from each mark to that point.
This would have given us the center of
the diamonds, and then where these
lines bisected the lines // we should
have drawn lines to the V. P.'s on either
side.

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let him pencil lines in the form of squares,
say, half an inch apart. Suppose, now,
he wishes to reproduce a design on an
enlargement, he will reckon the number
of times the latter is greater than the
former, and rule light pencil lines in
the form of squares accordingly. If
the enlargement is four times greater
than the sketch the squares will be two

FIG. 5

This example will enable the reader
(by applying the same rules) to draw
most of the usual scenes in perspective.
The chief difficulty he will experience is
that it is impossible for him to extend
the borders of his enlargement suffi-
ciently to put in the various points
correctly, and also that the time it will
take will not be warranted, although
it is often possible to pin down an
enlargement to a large drawing-board
(covered with paper) and mark the
various boundary lines thereon.

I advise that the artist prepare for
after use a few sketches of small size,
of designs of his own origin, and keep
them as stock. Draw them accurately
to scale, and of such a scale as is neces-
sarily required for subjects taken in a
photographic studio. Over these draw-
ings (which should be in Indian ink)

inches in size, if six times, then three
inches, and so on. Then let him
draw in, square for square, the lines
of the design on the background,
and he will find it quite easy to
keep not only to the general form,
but also of the perspective. When the
outline is thus finished the subject may
be developed bodily with the airbrush,
color, or pastel, as the rest of the subject
may be (see Fig. 5). In passing we
would point out that this method of
reproducing by means of squares con-
stitutes a means of accurately sketching
a photograph on an enlarged surface
without a photographic basis. The
details are easily placed in situation,
as it is possible to locate the exact posi-
tion of each part of the subject section
by section. — British Journal of Photog-
raphy.

THE INFLUENCE OF ILLUMINATION IN DETER-

MINING THE COLOR-QUALITY OF

AUTOCHROMES

By NOEL DEISCH, B.A.

EVERY autochromist soon learns
that a good, full light during the
exposure conduces to the most
colorful results. Moreover, he is not
long in finding that it is better to choose
what a black-and-white photographer
would call a "flat" lighting, that in fact
entirely successful pictures may be taken
with the camera directed away from the
sun. One reason for this is that the differ-
ences of color in a color-photograph lend
it that necessary variety which in an
ordinary photograph is given by differ-
ences in shade. But a more special reason
for avoiding deep masses of shade when
taking color-photographs is that they
turn up both darker and duller in the
resulting positive than they were in the
original, if development is stopped just
when the high-lights are fully brought
out. By this lack of brightness and color
they set the lighter parts of the picture
into too great prominence, or, stated in
another way, cause too much contrast.
In great measure this over-darkness of
the shadowy portions of brightly lit
pictures is due to a lack of latitude in
color plates, and in lesser degree to other
phenomena that will not be gone into.

But there is also . an apparent want
of proper color in pictures taken on dull
days when the illumination is perfectly
even, and which a lack of latitude in
the plate would not account for. The
uniform experience of workers along
these lines is that a decidedly more
brilliant color-record may be obtained
from a brightly lighted subject than
from the same subject under a com-
paratively poor light, although in the
second instance the plate has received
a full exposure. This apparent fault has
been commonly attributed to some indi-
vidual peculiarity of the plate. My
purpose is to show that very largely it is
due to an altogether different cause.

Probably most of us who saw aniline
dyes in bulk for the first time were sur-

prised to find that many of them in this
solid form appeared nearly or absolutely
without color — quite black — but on
being dissolved and spread out on paper
they exhibited the most intense colora-
tion. A more familiar example is found
in the cakes or pans of water-color used
by artists. Mauve, for instance, in a
wash of the proper depth is an extremely
powerful pigment, but in the pan it is so
dark that it would be difficult for one to
tell at a little distance what its true
color really is. On the other hand,
some pigments like vermilion (mercuric
sulphide), and a number of the yellows
appear just about the same in bulk as
they do on paper. The natural question
is, what causes this peculiar behavior
of colors.

The answer will, of course, be familiar
to most of my readers. The "black"
pigments do not of themselves reflect
light appreciably, and show up only by
light which passes through them. If
they are spread thinly on white paper the
light goes through the layer of color to
the paper, is reflected, and penetrates
again through the color to the outside,
and in this double passage all the colors
except that one transmitted by this
particular pigment are filtered out, and
so the emerging light, and therefore
the pigment, appears brightly colored.
However, if this pigment is in bulk, or if
it covers the paper to too great a depth,
but very little of the light that strikes
it comes back, nearly all is absorbed,
and so naturally the substance appears
without color, or black. But those
colors which appear of their natural
tint, regardless of what quantity may
be aggregated together, reflect light of
themselves without additional help.
Their molecular structure is such that
they send back light of a certain refran-
gibility and absorb all the rest, and
hence appear of a definite hue. For this
reason thev require no backing, and, in

(467)

468 DETERMINING THE COLOR-QUALITY OF AUTOCHROMES

fact, are often quite opaque, so that
light penetrates them only to a very
small distance indeed.

Now all of this has a direct bearing
on our subject, because both of these
classes of pigments are found in nature.
The coloring matter of living things is
generally of the first — transparent —
variety; whereas of minerals it is as a
rule of the second or opaque kind.
Plants, for instance, have green chloro-
phyll in their leaves, and the earth and
many rocks are stained red by salts of
iron. In nature, however, we rarely
find pigments spread over an intensely
white reflective surface, like the colors
are spread over paper by a painter.
They are diffused throughout the sub-
stance which they color, a substance
that is only imperfectly reflective in
any of its parts. Hence the light that
is reflected from them comes from
various depths within the living struc-
ture— some from near the surface, some
from further in the interior of the leaf
stem, or whatnot, that is reflecting the
light.

Observe the conditions closely. That
light which comes from the surface of
the object will be less saturated with
color than the part which comes from
the interior, since it will have passed
through a lesser thickness or quantity
of pigment. So then on a dull day,
when the light is of sufficient strength
to penetrate only a minimum distance
into the object, it emerges with a
smaller burden of color than on days
when the light is bright, penetrates
deep down into the partly reflecting
substance, traverses a thick layer of
coloring matter, and comes out more
completely charged with color. Even
the comparatively opaque coloring sub-
stances, because they are not entirely
opaque, behave to some degree in the
same way. Therefore, on bright days
the colors that usually occur in nature
are not only more intense or brilliant,
but are also as a rule actually more pure
or saturated than on dull days. We
notice the one without perceiving the
other. We see the livening of the land-
scape under an increasing sun, but
unconsciously attribute it altogether to
the augmented light, forgetting the role

that color plays in causing the trans-
formation. We do not separate the
qualities of light and color in judging
either the well-lit scene or the one under
an overcast sky, but the color-plate
records these colors closely as they are,
proper exposure eliminates the differ-
ence of brightness that existed in the
originals, and consequently the two
plates show marked differences of color,
notwithstanding they are equally trans-
parent, and we, not recognizing the
facts, attribute it all to some eccentricity
in the plate.

I suppose the reason that this explana-
tion does not at once occur to a person,
or that he is reluctant to accept it, is
becaue he does not ordinarily see too
widely distinct aspects of nature in
juxtaposition, as they are presented by
two such color-photographs, but sees
them at different times, and his memory
does not serve him well enough to lead
him to the truth. Generally alterations
of lighting take place so gradually in the
processes of nature that the changes of
color that go with them entirely escape
us. However, there are certain times
when we do notice these changes of
color, which happens more especially
when a rather abrupt difference of
lighting occurs. For instance, if one
observes a landscape partly obscured
by the shadow that falls from a cloud,
he will notice that the difference in the
actual amount of color perceivable in the
shaded and sunlit area is very con-
siderable. One will often remark a
similar effect in his room, as it is suddenly
lighted up by the passage of a cloud
from over the face of the sun. Dark
furniture and picture-frames, which were
previously of a gloomy monotone, now
show beautiful variations of tint in their
graining, and the color of one's rugs
and books comes out splendidly. If our
eyes are prepared for it they will often
pick out examples in nature that illus-
trate the point. Some morning glories
are of so dark a tone that in shadow they
appear black, but in direct sunlight show
up a deep and beautiful blue. Both
reflection and observation, therefore,
go to show that the disparity in the
purity of colors noticeable in color
photographs of the same subject taken

A LONG-FOCUS LENS

469

in widely different intensities of light
represent pretty nearly what is actually
the fact, and are due to no inherent and
obscure fault in the plate at all.

From the foregoing it follows, and I
doubt not that the experience of auto-
chromists will bear me out in my con-
clusion, that there are certain cases in
which a reasonable difference in illum-
ination can result in no defect of color
rendition whatsoever. A gaily colored
painting, for instance, should photograph
well in almost any light. Likewise any
object which light, be it never so dull,
completely penetrates, such as colors in
solution, or, using an example nearer to
nature, the petals of most flowers, certain
leaves, etc., should photograph equally
well when poorly as when brightly
illuminated. One of the very best flower
pictures I ever secured was taken indoors
in the early spring with a heavy, over-
cast sky. The exposure was five minutes
at /. 8, but the colors of the resulting
diapositive were all that could be wished
for. On the other hand, it is just as
apparent that certain dark, dull-colored
objects demand all the light that one
can get on them, because their true glow
of color does not appear by mere surface
reflection: the light must be made to
penetrate into them to bring their latent
color to the surface.

An acquaintance with these facts
should serve as a guide when making
exposures under uncertain conditions of
lighting, and of course, as in all questions
where design or composition enter, the
correct procedure will be determined

very largely by what is paramount in
the picture. Where the greater part or
the most essential part of the scene
contains colors that are dull, lifeless, and
what an artist would call non-luminous
or degraded, as would apply in photo-
graphing a quarry, a gray stone building,
or the interior of a somberly furnished
room, it would be better to wait until
the illumination is at its best to expose an
autochrome. But when one is photo-
graphing in the flower garden, or making
pictures of blond faces accompanied by
pink-and-white dresses — when only the
brown bark of shrubbery or a deep-
hued ribbon will fail to register properly
— it would be perfectly feasible to take
the picture despite an indifferent light,
because then everything that is of
importance will show its color faithfully
in the resulting picture.

As a closing remark it would be well
to state that I do not wish to imply that
dulness in pictures taken on cloudy days
is in all cases, or in particular cases,
altogether due to the cause which I have
tried to bring out. It may be the result
partly of inexperience, partly of various
influences which operate to a greater or
less degree under different conditions,
and which it would take too long to
discuss. My contention is that a seem-
ing dulness in autochromes taken under
a poor light, when the plate has been
perfectly exposed and carefully mani-
pulated, is very largely due to the fact
that the colors in the scene itself have
been smothered by an inadequate illumi-
nation.

A LONG-FOCUS LENS— AND WHY

IT is often very desirable to have a
long-focus lens, because it enables us
to obtain a larger-sized picture of a
given object from a more distant stand-
point than the short-focus lens does. The
advantage of this greater distance is that
a more pleasing view of the object can be
taken, giving a better picture. It is well
known that a box, for example, if viewed
close to, has its horizontal lines "vanish-

ing" very rapidly into one another.
Now if this view is transferred to a flat
picture the result looks unnatural. Hence
the great advantage of long-focus lenses
in portraiture and genre photography.

It is commonly explained that with the
longer focus-lens on the same sized plate
better " perspective" is obtained, be-
cause of the smaller angle included, and
that, per contra, all wide-angle lenses

470

A LONG-FOCUS LENS

give bad perspective. This is quite
wrong, perspective being a matter, not of
angle of view used, but of the standpoint
from which the view is taken. The usual
size of plate for which a "universal"
anastigmat is catalogued is reckoned so
that an angle of views from fifty to sixty
degrees is obtained. Now this angle has
not been decided on by chance. By
common practice for centuries, artists
and architects have drawn their views
to include an angle of about sixty de-
grees, as it has been found that this
allows the eye free vision and a natural
effect. Hence we have always been
accustomed to an angle of view of sixty
degrees in viewing pictures, and it is
only right to choose the same angle in
photography. Two facts in confirma-
tion of this view may be noted. Many
of the "impressionist" painters have
used a larger angle of view in their
pictures, and this accounts for much of
the unnaturalness which we associate
with impressionist paintings. On the
other hand, the kinematographer has
gone to the other extreme, and rarely
uses a larger angle of view than thirty
degrees. This is partly because the lens
he uses has to be extremely rapid, and in
photography rapidity of vision is incon-
sistent with breadth of view. The effect
of this is that, in watching the kinema-
tograph, the eye has a cramped feeling,
as if its view was confined, as in looking
through a tube. In views, then, we may
take sixty degrees as the field of view for
best results; but for single objects —
portrait and genre photography — that
angle need not be regarded at all.

We, therefore, choose our lens of such
size as to give a picture on a given scale
at the necessary distance from the object.
The size of plate now need not be greater
than that necessary to include the ob-
ject, but, of course, it must be at least
this size, and the lens must cover that
size of plate. The choice of aperture
and the amount of stopping down that
will be permissible must be decided by
the kind of object to be photographed.
Machinery, for instance, will require a
certain amount of stopping down to
bring all the parts into focus, and the
longer the focus of the lens the more the
stopping down that will be necessary;

but as the machine will stand still in-
definitely, the long exposure entailed by
the small stop can safely be given. If,
on the other hand, we are taking photo-
graphs of flowers in a garden, the expos-
ure must be rapid to prevent movement,
while the depth of focus required will
not be great.

Thus, having chosen our focal length
to get a good picture, and our size of
plate to include the picture, we must
choose our lens according to our require-
ments in these two matters and to the
character of the object to be photo-
graphed.

First, there is the ovbious method of
buying an anastigmat of long focus and
similar aperture and properties to the
short-focus lens we have been using.
This method is rather expensive, as the
price of a lens increases approximately
in proportion to the square of the focal
length. It has the advantage, however,
that pictures as good in every respect as
those taken with the short-focus lens can
be made, with the advantage of larger
size or better "drawing." It is, there-
fore, the method to adopt when good
definition is required with either large
angle of view or larger aperture. Pro-
fessionals, therefore, have a long-focus
anastigmat either for commercial work
(where a large field of view is sometimes
necessary), or for portraiture, where a
large aperture is essential. Amateurs,
however, to whom art is a consideration,
will prefer to use one or other of the
following less expensive methods.

The second device is to use a lens of the
' ' convertible ' ' type. Here a longer focus
can at once be obtained by using either of
the halves, giving longer focus at a pro-
portionately less aperture. This has the
advantage of not costing any more than
the original lens, except in so far as this
property has been paid for in the initial
outlay. There are two types of con-
vertibles— the eight-lens and the six-lens
types. The single component of the
eight-lens will usually give good defini-
tion over a larger field than that of the
six-lens. It can very often be used on a
larger size of plate than the complete
lens, while this is not so with the half of
the six-lens, which, giving good definition
over a smaller angle, will only cover the

DESIGN AND COMMERCIAL USE OF BOX ENLARGERS

471

same size of plate as the whole lens. The
eight-lens anastigmat has, therefore, a
definite advantage over the six-lens as
regards convertibility, but is, of course
a much higher priced instrument.

The third expedient exists, with cer-
tain types of lenses, of substituting
another lens for one of the components,
whereby the focus is lengthened; at the
same time the field of view and aperture
are decreased, so that the same size of
plate is covered at much smaller aper-
ture. The supplementary lens is, of
course, an extra cost, but the property of
conversion is not paid for, whether it is
wanted or not, as in the convertible class
of lenses.

The last resort is the telephoto lens, by
which extra focal length is obtained with-
out increasing the camera extension
required. There are two kinds of tele-
photo lens — the variable magnification
and the fixed magnification kinds. In
the first a negative lens is fitted behind
the ordinary anastigmat, and by vary-
ing the separation between the two a
certain range of magnifications is ob-
tained. In the second kind a complete
telephoto lens has to be bought. In the
matter of quality the fixed magnification,
while limited as to the focal length ob-
tained, gives good definition over the
same size of plate which an anastigmat
with the same back focus will cover, and
can be made with large aperture, up to
f/6 or f/5.4; while the variable magni-
fication is only corrected for one of the
magnifications and the definition sacri-
ficed at the others; and its aperture is

inversely proportional to the magnifica-
tion. Thus an//6.5 lens, with telephoto
attachment, giving a magnification of
four, works at //25. The field of view
also diminishes as the magnification in-
creases. Generally in a telephoto lens
the definition is not quite so good as that
of an anastigmat, and the definition of
the variable type not so good as that of
the fixed type. Furthermore, it is al-
ways a rather cumbersome instrument,
and requires considerable care and
judgment in its use.

It is noteworthy that with any of the
above long-focus lenses, except the first
kind, there is sure to be a little distortion.
This is very often not serious, except in
the case of some of the telephoto lenses,
especially if used as a narrow-angle lens;
it is probably least with the supple-
mentary lenses.

In conclusion, we may thus summar-
ize: If exacting conditions are required
for the long-focus lens, it is best to buy
another anastigmat. If a little distor-
tion is not serious, and we don't mind
the smaller aperture, the eight-lens con-
vertible can be used. If the field of view
can also be sacrificed — i. e., we are never
using a larger plate than the smaller
lens is used for — a six-lens convertible or
a three-lens separable type with supple-
mentary lens will meet our requirements.
If very great focal length is necessary,
everything else must be sacrificed and a
telephoto attachment used. If we still
require a large aperture, then the fixed
magnification telephoto is the lens. —
Amateur Photographer.

THE DESIGN AND COMMERCIAL USE OF
BOX ENLARGERS

By BERTRAM E. HAVELOCK

IT would seem that there is good
ground for more extended use than
is customary at present of enlarging
apparatus of the simplest form such as
is familiar to beginners in enlarging

in the shape of the convenient box
pattern enlargers supplied by various
makers. Here I am concerned not with
the requirements of the amateur, but
with those of the professional, or more

472

DESIGN AND COMMERCIAL USE OF BOX ENLARGERS

often the commercial photographer, by
whom, so far as my experience goes,
comparatively little use is made of this
very efficient type of apparatus. Prob-
ably this arises from the defective nature,
so far as commercial work is concerned,
of the box enlargers upon the market. I
have nothing to say against these latter
in general, for they are remarkable
little instruments at the price; but they
are fitted with lenses which are of only
small aperture, and therefore are unsuit-
able for quick work with gaslight papers
or for use by artificial light. One may
take it as a sine qua non that any en-
larger employed in producing prints
under commercial conditions requires to
be utilizable by artificial light when
daylight is not available. Hence these
notes, which will, I hope, go to show
that in the box enlarger the commercial
photographer has a means of turning
out enlargements as simply and almost
as expeditiously as prints.

The Small Camera

Perhaps I ought to say a word in
preface of the valuable use which can
be made, and is being made, of a camera
of quite small size for commercial out-
door photography. In the past the
photographer who was called upon to
make, say, a dozen negatives of outdoor
subjects, or even of those indoors, has
thought it necessary to use a camera of
10 x 8 or 12 x 10 size, with consequent
labor to himself, slowness in operation,
and also greater increased cost of plates.
The high-class small cameras now obtain-
able have proved the possibility of
securing just as good final results by
making negatives of quarter-plate or
3J x 2\ size, and producing prints
from these by enlargement. The small
camera has the obvious advantages of
quickness in operation and greatly
reduced cost of plates. The user can
probably get through twice as much
work in a day, and, unburdened by
heavy apparatus, can often secure sub-
jects which otherwise he would not
attempt. As many of these commercial
subjects contain no moving objects,
it is usually possible to employ a mod-
erate aperture of the lens, and thus to

give an exposure of not less than one-
tenth or one-fifteenth of a second; or
the camera may often be used on a light,
rigid tripod, and still greater sharpness
obtained in the negatives by further
stopping down the lens and giving a
time exposure. These are not simply
visionary suggestions, but describe prac-
tice which many makers of commercial
photographs, the writer included, has
found to be eminently successful.

Points of the Box Enlarger

The reason why I lay special stress
upon the convenience of the self-con-
tained enlarging box as a tool in com-
mercial photographic work is that it
lends itself to standardization, and thus
can be placed in the hands of compara-
tively unskilled assistants, whose work
will then be fully equal to that obtained
by a practised enlarger, once the condi-
tions as regards exposure have been
reduced, as they can be, to a simple form.
I do not know that there is any par-
ticular advantage in using the somewhat
more elaborate type of box enlarger
which is fitted with a detachable dark-
slide; the self-contained pattern, in
which the bromide paper is simply laid
against a sheet of glass at one end of
the enlarger and pressed flat by a hinged
spring back, which makes a light-tight
joint with the back frame of the enlarger,
is almost as convenient when daylight
is the illuminant, and sometimes more
convenient when the boxes are used
indoors by artificial light. These en-
larging boxes, though bulky, can be
made of very light build, and are there-
fore easily carried to and fro for loading ;
but when the place for their exposure
to daylight makes it inconvenient to
carry them into the dark-room there is,
of course, a gain in fitting a detachable
holder for the paper. If, however, this
is so, it is usually not a difficult matter
to pick up for a few shillings dark-slides
of old pattern cameras, which with a
very little adaptation serve excellently
for the purpose.

Degree of Enlargement

Now, as regards the extent to which
the negatives require to be enlarged.

DESIGN AND COMMERCIAL USE OF BOX ENLARGERS 473

About the best average degree of enlarge-
ment is three times linear — that is to
say, an enlargement of 12x9 inches
from a quarter-plate negative, or 9f x 6f
from a 3| x 2\. One or other of these
sizes of print is usually on a sufficiently
large scale for the buyers of commercial
photographs, and a degree of enlarge-
ment of three times does not depreciate
to any appreciable extent the definition
in the negatives. However, I may give
here a table showing the sizes of prints
obtainable by enlarging the two sizes
I have mentioned on scales from two
to four times.

A degree of enlargement of

length of lens. These dimensions are
very readily calculated. Let us take
first the total length of the enlarger —
that is to say, the distance from nega-
tive to sensitive paper. The enlarger
will actually be about an inch or so
longer than this as required by the back
to hold the paper. The rule, then, for
the total length is as follows: Add 1
to the figure for the scale of enlargement ;
multiply it then by itself and then by
the focal length, and divide by the bare
enlargement figure. For example, if
the scale of enlargement is 3 and the
lens is of 5-inch focus, the total distance
from negative to paper is 4 multiplied

2 times

2\ times

3 times

4 times

Yield prints as follows from negatives of 3| x 2\ and 4| x 3| inches.
3*x2£... 4|x3i 3|x2|... 4|x 3| 3± x 2\. . . \\ x 3|

9fx6f...l2 x9

4£x3i
16 xl2

It will be seen that the quarter-plate
negative, owing to its somewhat squarer
shape, gives an enlargement which better
fits the standard size of bromide papers.
It should be mentioned also that in
giving the sizes of enlargement allowance
has been made for an eighth of an inch
margin all round the negative, which,
as a rule, does not contain any usable
subject.

Dimensions of Box Enlargers

As I have already said, a commercial
photographer wants something, in this
form of apparatus, better than the cheap
enlarging boxes on the market — better,
that is to say, in being fitted with a lens
of larger aperture. Most establishments
will have one or two lenses knocking
about which will serve well for the
purpose. For the two sizes of camera
which, as mentioned above, are the best
for the purpose a lens of five inches
focal length and of aperture //8, or
better f/6, is the best which can be
selected. Its focal length should be
known with fair exactness, say to an
eighth of an inch.

The dimensions of the enlarging box
depend only on the two factors: (1)
scale of enlargement and (2) focal

by 4 multiplied by 5 divided by 3, or
26f.

The calculation of the distance from
lens to paper is simpler. The rule is:
Add 1 to the enlargement figure and
multiply by the focal length. Thus,
with scale of enlargement and focal
length as before, this is 4 multiplied
by 5 = 20

The distance from the lens to the
negative is, of course, the difference
between the two lengths already found,
but it is just as wrell to calculate it
separately and so to check the previous
figures. The rule is: Add 1 to the
enlargement figure, multiply by the
focal length, and divide by the enlarge-
ment figure; thus again 4 multiplied by
5 divided by 3 = 6f. It will be seen
that the two second distances when
added together make a total equal to the
first.

It should be mentioned that in the
case of lenses of the older R. R. type it
is reasonably accurate to measure these
distances from the diaphragm aperture,
but that will not always hold good in
modern lenses, in many of which the
nodes of entrance and emergence are
peculiarly placed. In any case it is
necessary to make a test of the correct-
ness of focus of the apparatus before
finally fixing the three distances for

474

DESIGN AND COMMERCIAL USE OF BOX ENLARGERS

paper, lens, and negative as can easily
be done according to the type of con-
struction described in the next para-
graph.

The Box Enlarger

Our enlarging box thus consists simply
of a rectangular wooden tunnel of dimen-
sions about half an inch larger each way
than the bromide paper to be used. The
first thing is to make the receptacle for
the paper by nailing a series of strips
all the way round inside the tunnel about
half an inch from one end, so as to form
a thin rebate, on which the glass, against
which the paper is to be pressed, can
rest flatly. The back or cover is then
hinged to the box, so as to provide a
light-tight covering of this end. The
inner side of this cover requires to have
a covering of thick carpet felt or, alter-
natively, a thin board with its underside
attached to the cover by means of one
or two shallow springs for the purpose
of pressing the paper evenly against
the glass when the cover is snapped into
place.

Next comes the fixing of a light-tight
partition in the tunnel to carry the lens.
This partition may be so fixed that the
lens diaphragm (if an R. R.), or that
part of the lens mount coinciding with
the node of emergence (if a modern lens)
comes at the calculated distance from
the paper. The readiest way of doing
this is again to nail or screw four strips
of wood in the inside of the tunnel to
form a flat support, to which the board
carrying the lens can be secured square
with the paper.

Then all that remains is to fix a frame
to hold the negative. The distance from
lens to negative is a comparatively
short one, and a very slight difference
in it suffices in order to obtain sharp
definition on the plane of the paper.
The method here is to make a shallow
inner frame which will just fit inside
the main tunnel, and is provided with
a central rectangular aperture, over
which the negative is laid, and is held
in position by one or two spring clips.
This allows of the negative being moved
about to any required extent for the
purpose of selecting any particular part
of it for enlargement, using in place

of an ordinary negative one of the ruled
glass screens sold for the purpose, or,
in default of the latter, a thin negative
with a few fine cuts on it. The final
thing to do is to adjust the position of
the negative frame in the tunnel so that
the sharpest focus is obtained on a
ground glass screen placed ground side
against the glass which is to serve as
the support for the paper. This having
been done, the negative frame is screwed
into position, and the enlarging box is
finished.

The whole of the woodwork employed
in making it should, of course, be dead-
blacked before putting it together.

It ought to be added that the negative
frame may conveniently be fitted with a
carrier to take the next smaller size of
plate — say, one for 3J by 2\ in the case
of an enlarger to accommodate quarter-
plates. In this case, of course, the scale
of enlargement remains the same, but a
smaller print is produced.

A Box for Various Degrees of Enlargement

Depending on the nature of one's
work, it may be of advantage to be able
to obtain various degrees of enlargement
in a single apparatus of box form. The
facility calls for a more elaborate kind
of apparatus, but not one which is at
all beyond the ability of the handy man
to make for himself very cheaply. The
principle of its design is that the parti-
tion-board carrying the lens shall be set
in one or other of various selected
positions (according to the degree of
enlargement required), and correct
sharpness of the enlargement obtained
by adjusting the distance of the negative
from the lens. This position may be
checked by focussing every individual
enlargement on ground glass, or the
apparatus may be provided with a scale
similar to that fixed to ordinary hand
cameras and marked to correspond
with the different positions of the lens
board. Exactly how - this will affect
dimensions of the apparatus will be
seen at a glance by working out the
figures, say, for a 5-inch lens and degrees
of enlargement of 2, 3, and 4 times.
These dimensions are given in the fol-
lowing table:

DESIGN AND COMMERCIAL USE OF BOX ENLARGERS

475

Degree of Total extension,
enlargement. inches.

2 22*

3 26|

4 3"li

Lens to

paper,
inches.

15
20

Lens to

negative,

inches.

61
61

Here we see that the lens board for
2-times enlargement requires to be ten
inches nearer to the paper than for 4-
times enlargement — a range of move-
ment which is very much less in the case
of the negative in relation to the lens
board, which, as will be seen from the
figures, is only one and a quarter inches.
Hence the most advisable design of an
apparatus is a long box open at the top
and at one end, and provided with a
light-tight cover. Nail to each side
three pairs of wooden slats, say, of
one-half inch square section, each slat
of each pair being fixed at such distance
apart that the partition carrying the
lens will push tightly down between
them. The positions for these three
pairs of grooves are chosen in the example
just selected, so that the distance from
the lens diaphragm to the paper is
fifteen, twenty, or twenty-five inches.

The negative is best carried at the
rear end of a box which is fixed to the
rear side of the lens-board, the base of
the box being made so that the frame
which actually holds the negative has
an amount of movement of, say, one
and a half inches. This calls for a little
handiness in making, and if that is not
available, the best thing is to get an
old pattern quarter-plate camera of
the rear-focussing type and fix it by
means of a couple of brackets to the
lens-board. By means of the winch
focussing screw with which these
cameras are usually fitted it is an easy
matter to provide for the smooth small
movement of the negative as required
for the different degrees of enlargement.
If the focusing is to be done each time,
the paper requires to be carried in a
separate holder, but the better plan
is to provide the box or camera which
carries the negative with a scale which

can be marked once and for all, and then
to use the apparatus exactly like one
of the fixed focus type, after having
placed the lens-board in the proper pair
of grooves and adjusted the position
of the negative to correspond with the
degree of enlargement which is required.
Apparatus of this kind is necessarily
bulky as regards both girth and length
and no doubt this is the reason why it is
one which has never been taken up in
a commercial way, despite its many
advantages in practice. A size to take
12 x 10 paper is, I think, as large as
will usually be necessary. A length,
then, of rather more than thirty- two
inches allows of a 12 x 10 enlargement
from a 3| x 2\ negative (4 times enlarge-
ment) or one of the same size from a
quarter-plate negative (3-times enlarge-
ment). It equally serves for the making
of smaller enlargements from these two
sizes of negatives on paper ranging
from half-plate to 10 x 8.

Artificial Light

I have spoken of artificial light, and
without question such is of essential
importance in commercial enlarging
work — with these box enlargers or any-
thing else. With a box enlarger the ideal
source of light is one which is diffused
as completely as possible, e. g., a pair
of short mercury tubes or an arc used
behind flash opal — in either case, of
course, without a condenser. This form
of illumination rules out at the start
all troubles in the way of dark patches
on the enlargement as the result of
faulty adjustment of the light when the
latter is used in conjunction with a
condenser. Whatever one's facilities
are in the way of such diffused light, it
is an easy matter to adapt it for use
with the box enlarger by providing
for the box a base which will bring the
negative into alignment with, and at
the correct distance from, the light.
— British Journal of Photography.

NEW BUSINESS AND HOW

THERE are few professional pho-
tographers, even in these stirring
times, who are so happily situ-
ated that they do not have to concern
themselves about new business. And
yet to how many photographers does
the admonition, "Get after new busi-
ness!" mean anything?

Of course we are all going to do it,
but somehow we never seem to get to
the point of making a beginning. The
need of new business is so imperative
that we sit around and emphatically
protest that the next thing we are going
to do is to get after some new business.
It is always the next thing in line.

Now the summer months are over,
the fall and winter activities confront
us and every-day life resumes its usual
course. People these times are more
or less inclined to think about having
their pictures taken. But out of a
hundred who think about it, perhaps
five per cent, will go to a studio of their
own volition. How to persuade the
other ninety-five to come to your studio
is the problem that faces the photog-
rapher. With the rapidly increasing cost
of living, the high price of materials
and the scarcity of help, the problem
is becoming more difficult and the pho-
tographer himself must become more
resourceful.

You must find some method or
methods that will make more people
decide that they need more photographs
(476)

and that you are the man to make them.
If you are thoroughly wide-awake and
up-to-date, you have some new ideas of
your own. Put these into effect at once
and let your clients know about them.
Some of these clients you will hear
from, but to secure new clients you must
advertise. And you must take every
possible means of keeping your name
and your work before the public. Let
the people of your town and community
know who you are, where you are, and
what you are prepared to do for
them.

The first and one of the best methods
of attracting attention to yourself and
your work is the show-case. Almost
any picture will attract attention, but
the better the picture the greater the
attention it will attract. A neat, clean
show-case, with a well-arranged display
of your best and most attractive work,
frequently changed, is a strong magnet for
new business. Go out and have a look
at your show-case and see if you cannot
make it more attractive. Study it.

For the people who are not within
range of your show-case you must
advertise. Either by using newspaper
space or individual circular matter you
must let them know where you are
and what you can do. A carefully
worded, dignified advertisement in the
papers, or the same thing in the form
of a well-printed and tasteful circular,
will create a desire for your work. Then
the finer the work itself, the greater the
results.

EDITOR'S TABLE

477

As to your studio — the approach and
the reception-room. Have you ever
stopped to think of the all-important
part appearances play in modern up-
to-date business? What is known as
the psychology of business. When a
new bank building goes up in your town
notice the heavy columns in front.
These suggest and convey soundness,
solidity. Or notice the office outfit of
an up-to-date business house — the
mahogany desks — the rugs, etc., all
assuming and at least suggesting pros-
perity. Or even come to the personal
equation. If a man appears well
dressed we say or think he is prosperous;
and if, on the other hand, we find him
ill groomed and shabby we conclude
at once that affairs are going poorly
with him. Now apply this principle
to the studio. If possible your studio
should be on the ground floor. If this
cannot be managed, do all you can to
have the approach — the stairway to
your studio clean and attractive. Rip
up the old, worn, musty carpet or oilcloth
and have something bright and worth
while. It will necessitate a small outlay
but it will pay.

As to the studio reception-room —
this should be as bright and sunny as
possible. The wall paper in some
plain neutral tint with a few framed
prints, and furniture comfortable and
inviting. When possible a vase of fresh
flowers. Many studios with the old
imitation palms and plants, often dusty
and dingy, give one the feeling of
attending a Chinese funeral. This
won't do if you want to attract. The
up-to-date method which the successful
photographer adopts is to simplify —
do away with the old jim-cracks and
have a reception-room to receive! We
know of one Fifth Avenue photographer
who repapers and changes the appear-
ance of his reception-room regularly
once a year — so it always looks fresh
and new to the client.

While these are essential details,
there are a hundred and one other ways
of getting after new business that can
be adopted to your particular needs
and requirements. The thing is to
wake up, get busy and do something
now.

THINGS TO STRIVE FOR

WE are living in an age of art
feeling, and no matter how great
the mechanical skill, there must
be something beside it to make a lasting
impression. There was a time when
the photographer and his customers
were satisfied with a picture which was
merely a map of the human face.
That day has long gone by, for not
only is the up-to-date photographer edu-
cating himself to a higher standard,
but the people who come to him
are rapidly learning as well the value
of light and shade, of tone and color
qualities. They are no longer pleased
with a face as white as the collar
and cuffs they wear, for they realize
that there is a difference in nature,
and, if this difference exists in nature,
then surely it ought to be in evi-
dence in that thing which is a coun-
terpart, or should be, of nature.

We are creating higher ideals; we are
studying the work of others; getting
out of the ruts of our own rut-work and
seeking the things that are known to be
the best in the work of others. In other
words, we are teaching ourselves to see,
and when once we see we will not be
content until we produce the ideal in
our mind's eye.

Now we know that all subjects are not
good subjects. We know that the men
or women who so charm us by their
manner, their conversation, and by the
light and shade of conflicting emotions
that pass over their faces while they talk
are presenting to us phases of character
which it is almost impossible to catch;
but to each one there is that something
which is eminently characteristic of
themselves that we can catch, that can
be portrayed on the sensitive plate and
kept for future generations. Mind you,
we do not forget the dollars and cents
side of the business, which must always
be uppermost in order that we may suc-
ceed. But among your customers there
is always some one who will draw forth
your admiration, and in whom you will
recognize a subject which, if properly
handled, will stamp you and your work
as first-class. This is your opportunity,
and you should not let it pass.

478

EDITOR'S TABLE

First of all, we believe that a man
should be in love with his work; not in
the sense that he will be blinded to the
good qualities of the work of others,
but really and truly in love with the
profession which he has chosen, and
filled with an ambition to be the best
there is in that profession. It is only
that kind of a feeling that will bring
out the best that is in the man. Under
these circumstances his faculties will
always be alert, and the hours spent
in the study of anything that aids him
in his work will be among the most
pleasant enjoyments of his life.

Above all things, study simplicity;
try to see how little it takes to make
a picture rather than how much. A
portrait requires but little besides the
person, and that little should never
intrude. Most of the backgrounds are
too fussy, too much broken up, and
often too much in focus. Let your
whole interest center around the face
and figure of your sitter, and by all
means strive to keep the picture within
the plate. If time will permit, talk
to or entertain your patrons, at least
long enough to see some peculiarity
of their manner, some grace of motion
which you can make use of. This will
give originality to your work and call
forth the highest praise ; in fact, it will
be like them.

Then, too, we would suggest that
every photographer study all pictures
that come under his notice, particularly
if they are good ones. Not only do we

mean photos, but engravings and paint-
ings. Notice how the people are grouped,
the accessories, light and shade, and,
above all, study nature, never forgetting
that you cannot represent nature, but
you can approach her in a manner so like
her own that people admire and applaud
the close resemblance.

Study the papers and other materials
you use. Do not become wedded to
any one, but always bear in mind that
each has its good qualities, and will, under
certain conditions, be the best for you
to use. Artists seldom work under the
same conditions. You will sometimes
see them use a coarse-grained canvas,
another time smooth; sometimes they
paint with the most dainty touch,
again with broad sweeps and dashes.
It is that they may secure certain effects
which can be attained in no other way.
Find new ways to trim and mount your
pictures. Always remember to keep
in harmony and good taste. Every
period of life has its characteristics, and
these should be sought out as expressed
in the personality of the sitter, and
delineated with discrimination. Bold
facts are rarely pleasing. But there is
always something in every face which will
please and attract if we can draw it out
in our portraiture. Strive in all you do
to hold the mirror, as it were, up to
nature.

Thus will photography join hands
with her sister arts, and if we all do the
best that is within us we will call forth
the praise of all men.

PRACTICAL PAPERS ON STUDIO WORK AND METHODS

The Photographer

Your town and my town is proud of every
mark of culture that it can boast of. Look at
the small towns which you may visit, and the
first thing they point out to you with pride is the
Carnegie Library or some other public building
or some store that is a little better than the
ordinary.

Now your town and mine is composed of
"just people," ordinary people, each one with a
certain amount of pride, more or less, for his
city or town. You visit any town and you find
your friend will take you around and show you
with pride, paved streets, monuments, parks,
bank buildings, etc., and every person in their
town is interested in art in some form or another.

It has been a custom for many years for the
photographer to call himself an artist, and we
think he is right. The photographer has filled
this place in the hearts and minds of all the
people for many years.

Photographs are found in the homes of the
rich and the poor, in the homes of the educated
and the uneducated. There is always a demand
for photographs. This demand can be increased
to a large extent if properly looked after.

There are two towns which we know of now,
where the photograph gallery occupies such a
prominent place that when you visit these towns
as a stranger and any one points out the different
places of interest, they will call your attention
to the photograph gallery as being one of the
best, not only in the city, but in the country,
and they take as much pride in introducing you
to the photographer as they would to the
mayor.

In one town the photograph gallery is in a
small cottage house, but the appearance of the
same, the neatness with which the yard is cared
for, flower beds, etc., attract the attention of
everyone passing by.

There is a right way and a wrong way to handle
photographs. Possibly there was a time when
any old place was satisfactory for a studio; it is
different now. It must be one of the best places
in the city or town. It makes no difference

what the price of the photograph, those who have
them taken delight in going into a nice place to
have the work done. If the place gives the cus-
tomer confidence, the photographer can secure
larger orders.

What class of people does the ordinary
photographer sell to. Every class, just exactly
the same as the dry goods or drug stores.

Take a small city where there are two drug-
gists and one puts in a new front and fixes up
the store, the business goes to him immediately.
The other one gets wise and he immediately goes
his competitor one better so as to swing the
business his way.

Have your place of business so located, so
arranged and so fitted up that everyone in your
town will speak of it with pride, and you will
get an increased business which will more than
pay for all the additional expense. — Ohio Photo
News.

Know Your Customers

You will increase your own personality and
your business if you will endeavor to know your
customers better. In many studios a customer
comes in, selects the picture desired, in due time
the work is finished to their entire satisfaction,
they pay for the same, and go out. You do not
know the customers, except by the name on the
negative, or on your books. This is entirely
wrong.

You should know your customers well enough
so that the next time you meet them on the
street or anywhere else, you can call them by
name. If they do not recognize you, they will
soon ask you, and you can tell them who you are.

Some fifteen years ago, we were talking this to
a photographer, who then had a studio in Cleve-
land, but is now located somewhere in the West.
His excuse was that if the customers recognized
him or he recognized the customers after they
left the studio, they were always finding fault
with the work delivered.

No money is made on the customer who goes
into your studio or store but once. It is the
repeat customer who helps to advertise your

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480

THE STUDIO

business. He gives you all the photographic
work of the family, on which you make profits.

Know your customers; know where they live;
know their business, so that when you meet
them you can talk on subjects which are inter-
esting to them. Know them so well that they
will think of you as their photographer, as they
think of someone else as their dealer.

As we grow older in years, most of us, when
we wish to purchase anything, go to some store
where we have traded, and usually to some par-
ticular man in that store. We know him, and
he knows us. When we go in, he can call us by
name. If it is a charge account, he does not
have to ask the residence, but simply says
O.K., and you go out, and the goods are quickly
delivered.

You go to him because you know him, and he
knows you.

An expert in the reception room, who has
made a study of it, will be able to call a customer
by name when they come in to look at the proofs,
nine times out of ten; occasionally they may
miss it.

All of us like to be recognized. Oftentimes
parties speak to us whom we cannot place; that
is our fault, not theirs. When we speak to them
and they cannot place us, that may be our fault
also, because we have not impressed ourselves
upon their mind to the extent that they recognize
us anywhere at any time.

Nothing will help you to advertise your busi-
ness more than to know your customers better. —
Ohio Photo News.

Advertising Notes

"I've no call to advertise," say a great many
photographers. "It's too shoppy," say others.
And yet a third body say, " It doesn't really pay
or do any good." And, from their point of
view, they are right and it doesn't, because they
are usually the people who don't take any
trouble over it, or give it any thought, but just
leave it to a small jobbing printer, who is by no
means an expert.

Some of the big firms spend many thousands
a year on advertising, and it pays them well to
do so, but there is also expert thought and study
put into it.

Most photographers might advertise with
profit — barring, perhaps, a very small section
of exceedingly high-class photographers, whose
advertising must be done by other methods, and
particularly in scattered districts and crowded
centres.

At present, for instance, there is a large quan-
tity of copying and enlarging to be done, also
making miniatures, and so on. Often it is possi-
ble to suggest to people that they want or would
like these things by means of advertisements.
Particularly is this so in quiet country districts,
which are a very fruitful field for photographic
advertising.

But care must be used in preparing and
sending such advertisements. It's no use to
send circulars saying that you want to make
them such things. First, you have to make
these people realize that they want or need them,
and usually photographers, in drawing up adver-

tisements, begin at the wrong end of the stick.
Either they say, "I can" or "We can" do so-
and-so, instead of saying, "Wouldn't you like
to see a nice enlargement of your soldier son on
the wall?" Or, "You keep intending to send
in that old photograph," and so on. Don't talk
about yourself, but the client. Interest him or
her in himself or herself and what he or she would
like, and you've made a good beginning.

Most photographers could write a good,
chatty, interesting letter to a friend, yet they
pay for and send out starchy, formal, and ante-
diluvian advertisements, that are immediately
screwed up into a little ball and tossed in the
grate. You all know the sort of thing I mean —
on cheap, common paper, bad type, and obvi-
ously an advertisement.

That's all wrong. Your advertisement must
first of all make an impression on the eye the
minute it's opened, so that it will not be tossed
aside, but by its attractive appearance compel
examination. That's the first point gained.
Then it must be so crisply, interestingly, and
personally worded that it sets the reader think-
ing, and starts his mind off on a train of thought.
That's the second point. Then your own share
in the matter should be so presented that you
make the recipient feel that you're just the
man for him, and he'll call on you with his
original, or whatever it is. That's point No. 3.
Then, too, it's possible so to arrange matters
that, by posting at the proper time, it will
reach him or her at the most likely moment, say,
by Sunday morning's post, when there's time to
read in comfort, or Wednesday or Saturday
afternoon. The ordinary morning delivery is
not always the most desirable, when folk may
be cold, hungry, or in a hurry, and the adver-
tising matter gets put aside unread.

Make your advertisement as interesting as
possible by using short, crisp, simple sentences,
in a chatty, personal style, as though there
really is a man behind it, and put in any little
matters of interest that occur to you. The
rise in the price of plates, the scarcity of certain
chemicals, and many other things, may be made
to tell, even with amateurs — who always like
to feel wise, and be talked to accordingly — and
often by this means you can make them feel
that, after all, it's better and cheaper to send
their pet negatives or prints to you to be
enlarged or copied than to mess about them-
selves.

Make your advertising a practical help to
you. For instance, now (the days of early
autumn) is a good time to remind folk of when
they must post to relatives overseas so that
their gifts will be in good time for Christmas,
and still give you time to execute the orders
properly without undue rush and haste. This,
especially just now under present labor diffi-
culties, may greatly help to ease down the fatal
Christmas "rush."

Then a few weeks later, a gentle reminder
about the photographs they will want for
Christmas, and a human personal touch in it,
as to the length of time you like to give an order
to get it nicely done, and the difficulties they
cause — especially now — by "putting it off," may
bear much good fruit and speed things up con-

THE STUDIO

481

siderably. It's quite worth doing. It gives
better time to finish work, and you can do better
work when not rushed.

Always choose nice clear type, not too small
and not too black, (or it will dazzle the eyes),
that will be easy to read, and nice "good"-
looking paper, a neat and tasteful design, that
will speak well for the quality of your studio
output.

Illustrations are sometimes good, though not
by any means essential; but then you must
choose paper suitable to your block, and see
that the block is a good one and does you jus-
tice. Very cheap blocks are vile things — coarse
and inartistic as a rule, and most unsuitable to
a photographer's purpose.

I have only touched on a few points, but
just think them over quietly, and I know you
will readily see the truth of them, and other
things also will occur to you.

The secret of the whole matter is to give more
study and careful thought to the advertising
you send out in the same way you would to
your window display. — G. E. H. G., in British
Journal of Photography.

System and Failure

From all directions are coming warnings that
the business men of this country should get in
line with the system and business science that
European countries have found necessary, for
the time will come very soon when we will have
to hustle if we would maintain our high scale
of living and yet compete with Europe in trade.
It is all so very sensible and sound that we can
not but sanction and applaud the movement
and use our means to apply it to our trade and
our readers, so that they may have as much
benefit from it as other business men.

"Why Do Men Fail in Business?" seems to
be the title most commonly used, although the
title is of small moment. It is the argument that
counts. The problem that it is attempting to
solve is how the percentage of failures in busi-
ness may be reduced and how competition can
be conducted on broader and fairer lines. The
government has taken an interest in it, and
Edwin Hurley, chairman of the Federal Trade
Commission, has published a pamphlet entitled:
"A System of Accounts for Retail Merchants,"
and in it he makes the following statements:

"1. That the majority of retail merchants
do not accurately know the cost of conducting
their business.

"2. That there must be decided improvement
in this direction before competition can be
placed upon a sound basis and before we can
expect a decrease in the heavy business death-
rate among retail merchants."

Photographers have rarely taken premiums
for business ability, and those who are familiar
with the elements that contribute to success in
photography do not wonder that this is so.
But without interfering one whit with true
artistic ability, we believe most confidently
that they are able to and will in time conform
to the business systems that are worked out
for other lines of trade. The first requisite for
the understanding of one's own business is an

accurate knowledge of the cost of doing busi-
ness. We cannot and do not propose to go into
a discussion of this, but earnestly advise all
photographers who want to keep far away from
the liability to failure, to study the question
and, by broad reading, to learn how to do it.

The methods of finding out the cost are funda-
mentally the same in all lines, and vary only
with the character of the particular line to be
worked out. Cost of material, labor, overhead,
etc. One photographer that we know started
to look into it. He found it rather more compli-
cated than he expected, but it became so thrill-
ing and interesting that he followed it out more
thoroughly than we have yet heard of it being
done in our trade. He kept an accurate tally-
sheet of the material, time of use of equipment,
time of developing, handling, printing and deliv-
ering, with salary costs and waste. He was
astounded to find that when he went out to make
an 8 x 10 negative and from it finished two or
three prints that the actual cost of that job was
between three and five dollars. He had been
charging a flat rate of one dollar for making the
negative and thirty-five cents each for prints.
He was losing from one to three dollars on every
job of that kind. By further investigations of
costs he found where he could make a proper
percentage by advancing here and reducing there.
The worst of his troubles, when he put his new
ideas into force, was the protest of his compe-
titors who could see only the reductions in his
prices but not the advances. They thought it
a reduction instead of a readjustment. Cus-
tomers got a shock when they were charged
from two to four times the former price for neg-
atives, but less for the prints, until it was
explained, then they got busy and figured out
how they could take advantage of quantities
and cost reductions by having more negatives
made at one time and more prints, and to their
surprise, they found that they, too, could save
money by a little planning. If an emergency
demands that the photographer be required to
go out to make one plate, he now goes and the
charge is based on the time consumed and other
cost items, and whether it is three dollars or five
dollars it goes.

Photographers have long underestimated
their costs. They have figured on the cost of
materials, and their prices showed a profit of
two to four hundred per cent. And yet they
could not make any money at that percentage
of profit. Marvellous, you might say. It is.
Marvellous that so many do not realize that the
cost of their materials is a very small percentage
of the cost of photographs. The materials are a
part, but other items run up the costs that the
actual facts are that the cost of production
oftentimes runs more than the receipts. It is
marvellous that a paradox like this: "I make
four hundred per cent, profit, yet I am losing
money" has been accepted, swallowed, bait,
hook and line, without question. And add to
that the ticket schemer or advertising promoter
can prove to a photographer that it is possible
for him to give his work away and yet make
money and pay his bills. Every year a certain
number of photographers fall for this argument
and accept this fallacy.

482

THE STUDIO

The public is becoming very wise, indeed. It
is a shrewd and foxy public that slips in and
grabs all the free pictures and does not permit
itself to get caught by the reorder trap so clum-
sily laid for it. The customer probably knows
more about the cost of doing business than the
photographer, and it is not its concern if they
are given an opportunity to get something for
nothing and then accept it. The photographer
cannot comprehend why the public does not
fall into the trap, which is a fair sample of that
type of blindness in this country. To enable
the business man to see where, how and when
he is losing money is the mission of the writers
and investigators of cost systems.

If a business man understands his costs he
will not sell goods at a loss. If he does not sell
at a loss he will make a living. If he makes a
living he will be more contented and cheerful.
If he is contented he will not worry over his
competitior. He will sell his goods to make a
profit, not to prevent his competitior from get-
ting a sale.

Mr. Aesop, of ancient Greece, must have been
acquainted with many photographers who
worked the ticket scheme, for he wrote a story
about a lion and wolf who fought for a piece of
meat. They bit and tore at each other until
they were exhausted, when a fox came along and
ate the meat while they lay there and watched
him, too weak to prevent.

After the war every man has got to make his
business go and go right. In order to do this
he must have some system and know the founda-
tion principles of business. We do not want
any one to fail in business, but sometimes it is
by the failures that we learn our most valuable
lessons, and, of course, experience is the best
teacher, but she keeps a very high-priced school.
How much better it would be if we could get
that experience by other means, and how wel-
come should be the news that there is available
for every man who wants to learn how to make
his business pay, accurate and carefully pre-
pared instructions for so doing. You may have
to walk to a bookstore to get that information,
or you may have to do a little serious work,
but that is not such a terrifying price to pay
for success. — Trade News.

Studio Lighting

The size of the studio is an important factor
in any scheme of lighting. The smaller the studio
the more difficult it is to get soft, even effects in
any sort of variety. Many studios are not more
than twelve feet wide, and some even less than
this, giving little space for moving the sitter,
camera, or backgrounds, and leaving all the work
to be done by the blinds. In such cases, as the
light must necessarily come mainly from one
side, it is desirable to have a fairly long light
both at top and side, so that by manipulation
of the blinds the main source of light may be
placed at varying distances from the sitter and
background. There is a great temptation when
working in a small studio to rely too much upon
the use of a reflector, but the beginner is cau-
tioned against making too much use of this
useful adjunct to lighting; he should endeavor

to get satisfactory illumination without its aid.
It is so easy to make a passable result from a
badly lighted model by softening the shadows
by reflected light that there is a great tempta-
tion to do so, but a picture so lighted will never
have the plasticity that is found in one in which
the effect has been mainly obtained by direct
light. Some portraits otherwise good suffer
from an overdose of reflected light and give the
impression of a waxen figure lighted from the
interior. The. object of using a long top light in
a small studio is to enable a fair amount of front
light to be used so as to secure a general illumina-
tion of the face or figure, the necessary relief
being given by a comparatively small side light,
higher or lower, as the features of the sitter may
necessitate. As a general rule there is a tendency
to have the top light too much opened over the
sitter's head. This results in sunken eyes and
deep shadows under the cheek bones. This
remark is particularly applicable to studios which
are lighted from the top alone. These should
have plenty of light in front of the sitter with a
fair amount of opaque blind over his head. In
such studios an approximation to a side light
may be obtained by hanging a waxed paper or
tracing cloth blind from the roof to catch and
divert some of the light ; by this means a distinct
improvement may be obtained, especially in the
lower part of the figure.

In wider studios much greater freedom of
action is possible, and many and varied lightings
obtained by changing the position of the sitter
without touching the blinds. An ideal studio
would be one perfectly square with a high side
light, and for the sake of groups a top light
extending at least one-third across. In such a
room every class of work could be successfully
attempted, one specially useful style being the
"miniature painters' light" for delicate vig-
nettes and particularly for portraits for coloring.
This is a top front light almost strong enough to
cast a shadow from the nose, just curtained off
enough on one side to give roundness without
hard shadows. On such a picture the coloring
will have its full value without the hardness
and heaviness frequently seen when the ordinary
"three-quarter light" is used.

It is of little use to give formula for lighting
for the aspect of the studio ; its internal coloring
and the outside conditions all exercise such influ-
ence upon the light that what in one studio
would produce a hard effect would in another
produce a flat one. Even the nature of the glass
will make an important difference. In one case
the removal of rolled glass and the substitution
of clear plate totally upset the work of a very
experienced man for a week or two, until he
mastered the new conditions. It is obvious that
no set arrangement of blinds, to suit both kinds
of glass, could have been devised, to give even
passable results.

One important point which must not be lost
sight of is the effect of the distance of the blinds
from the sitter. Distant blinds mean soft
lighting without much distinctive character
about it; hence in large and particularly lofty
studios it is advisable to have a set of blinds
fixed upon a movable stand. These practically
constitute a studio within a studio, and enable

THE STUDIO

483

the operator to secure a boldness and breadth
in his work which would be unattainable if using
blinds twelve or fifteen feet away from the
sitter. One advantage of this arrangement is
that it can be used much in the same way as
an electric light umbrella — that is to say, it can
be pulled to and fro until the beam of light
through the opening in the blinds gives the
desired result. Radical changes in lighting can
be effected in a quarter the time and with a
quarter the exertion required if the ordinary
blinds have to be altered. The ordinary circular
head screen is a very useful adjunct, especially
in small studios. It may be used when the light-
ing is fairly good, but the bald pate a little too
shiny, or when the cheeks are a trifle hollow.
It may be covered with lawn or the thinnest
nun's veiling; calico or nainsook stop too much
light. A perfectly opaque head screen of the
same pattern is often useful for subduing a glar-
ing patch of drapery. A dark complexion and a
white blouse form a trying combination, but a
harmonious negative is easily obtained by plac-
ing the little black screen just where it will cast
a shadow on the obtrusive garment, and so obvi-
ate its excessive density in the negative.

At one time ground glass was frequently used
for glazing studios, but it has now fallen into
disuse. It has the effect of softening the light,
but it slows it to an alarming extent. It is better
in the case of studios with a southern or eastern
aspect to diffuse the light by means of tightly
stretched blinds of thin nainsook or jaconet, which
can be easily washed, and removed altogether in
winter. — British Journal of Photography.

Service

A few years ago there were very few auto-
mobiles owned by photographers. Today the
photographer, especially the home-portrait pho-
tographer, finds an automobile almost a neces-
sity. If an automobile is necessary to get to the
home of a customer it can be made equally useful
in getting the customer to the studio.

Children are often tired out by the time they
reach the studio, and this is an argument used
by the home-portrait man to good advantage.
If you do not do home-portrait work, and are
fortunate enough to own an automobile, why not
use it to as good advantage as possible in getting
business into the studio.

Even- child likes a ride, and every mother
who does not have a car at her command will
appreciate being relieved of the fuss and worry
of getting the youngsters to the studio. You
may not realize how much of an inducement this
can be made. Think it over carefully and try
it out a few times as an experiment. You will
most likely keep it up. The news will spread,
and this bit of service will make your studio a
place the children will want to visit. And with
the trouble of getting them there removed the
mother will more likely have photographs of
them more often than otherwise.

This may not seem worth while to the owner
of a car, and sometimes it may be a service that
wall be inconvenient to render. But that's just
what service means. Going a little out of your
way to please a customer is service — doing the
little more than is expected of you is service —
and doing a thing cheerfully and ungrudgingly
whether it brings you an immediate order or not
is service.

If you can't go a bit out of your way to get
business you can't expect others to go out of
their way to give you business. But show a
willingness to give real service, and it doesn't
matter much where you are the business will go
out of its way to come to you. — -Photo Digest.

Odd Jobs

It is not a simple matter to make good photo-
graphs in a glass house where the light cannot
be controlled. That is why many professionals
do not specially welcome orders to photograph
interiors of greenhouses and conservatories. The
chief difficulty is to avoid halation. Nothing
will help the photographer so much as East-
man portrait film. Its non-halation qualities
will save the detail in the highest lights, and if
used with a K2 filter its orthochromatic quali-
ties will insure getting detail in the foliage.

Apart from taking general views of green-
houses and conservatories there are many orders
at this time of year for photographing good
specimens of flowering plants and well-culti-
vated vegetables. A gardener or the owner of a
small private greenhouse and garden will often
want a few pictures of extra-fine specimens. It
helps wonderfully when a photographer lets such
customers know that he is capable of doing good
panchromatic photography.

Some people have an idea that a good color
filter is one that doesn't require a great increase
in the time necessary to get a fully exposed plate.
The very opposite, however, is true if proper
color correction is desired. If a blue object and
a yellow object are of the same tone and are to
be photographed so they will appear the same
tone, and if the plate is ten times as sensitive to
blue as to yellow, then nine-tenths of the blue
light must be cut out by any filter that will make
the two colors photograph in approximately the
same tone. The exposure with such a filter
would be nine times as great as the exposure
without the filter. A filter requiring less expo-
sure would give less correction but could not be
considered a better filter. — Photo Digest.

Advice

Take 10 per cent, of your time for yourself.
You are robbing your business if you don't.

Good business principles backed by quality
spell success in photography.

The best way to eliminate resittings is to
express a readiness to make them.

Is This the Solution of the Portable Motion-
Picture Projector Problem?

Almost from the dawn of motion pictures
down to the present day an effort has constantly
been made to perfect a projection machine so
small, compact and light that it could be taken
anywhere and operated by an amateur. One
after another so-called "home projectors" have
been devised and offered for sale, but each has
usually lacked some important requisite when
actually put to use, and the problem has been
tackled anew.

The latest device is a portable motion-picture
projector which anyone can operate and under
rigid tests it appears to have come nearer the
requirements than most of the others thus far.
The new projector as described in The Scientific
American is light — weighing but twenty-one
pounds; compact — folding up to a size not
larger than a small suitcase; uses an ordinary
electric light socket as its means of securing
current — the light being produced by a specially-
made nitrogen bulb which casts a light as
brilliant as that secured from the ordinary pro-
fessional projector; the film can be started or
stopped at any point and held stationary on the
screen without danger of fire; the film can be
turned backward at any time, if so desired, and
there are numerous other features which will
appeal to those seeking portable projection
machines for the showing of industrial or com-
mercial films.

One of the oldest film manufacturing concerns
is the originator of the new projector. Having
been so long connected with the film industry,
it was not difficult for this concern to avoid the
mistakes made by previous experimenters with
portable projection machines. A case in point
is the brilliancy of the light, which has been a
surprise to many projection experts. A picture
equally sharp and clear is thrown on a screen
eight feet wide or on a piece of carboard only
eight inches wide, as best suits the requirements
of the user. Standard size films are used, and
rolls or spools holding a thousand feet can be
easily handled side by side. This feature enables
the firm already possessing several reels of com-
mercial film to show the subject whenever and
wherever it likes. If desired for any reason to
lecture with the film as it runs through the
(484)

machine the new projector can be stopped
at any point on the film in order to project a
single view as with the ordinary stereopticon.
In transporting the projector the lens, crank
and legs are placed inside the case.

The application of motion pictures to commer-
cial life has been discussed many times in these
columns; but the peculiar circumstances attend-
ing the present European war and its aftermath
again bring this subject to the front. Indefinite
uses will probably be found for the ideal portable
projector, no matter which one it may be, in
selling goods abroad in post-bellum days. Ameri-
can salesmen who will invade Europe to sell
goods of all sorts will not use samples or models
of their goods, especially if they are selling
machinery and building supplies and the like.
Instead, they will display motion pictures of the
huge American factories actually at work turning
out the goods, showing every detail of manu-
facture, and ending with a pictorial demon-
stration of the goods actually in use by the ulti-
mate consumer. It means the elimination of
small working models of locomotives, huge
tractors and ponderous machinery of every kind
from the salesman's equipment.

Cutting Prices

We have talked with a number of photog-
raphers who have the idea that on account of the
fact that they had all of the necessary equip-
ment and facilities for turning out amateur fin-
ishing and enough spare time to do it without
interfering with the regular studio work, that it
was possible for them to do amateur finishing
at cut prices and still make a profit. They argue
that it is extra business which is entirely separate
and distinct from the studio business, that all
they make out of it is clear profit above the
cost of paper, chemicals and time, that the cal-
culations of these costs show 100 per cent, profit
on amateur finishing, and that they are making
big money.

We are heartily sick of the argument that
photography shows a margin of profit of from
100 to 300 per cent., especially when we face
the actual fact that every photographer who
argues on that basis is almost always short of
money and discontented with the prospects of
the photographic business. If the photographer

NOTES AND NEWS

485

was making 100 per cent, profit, he would always
have a pocket full of money, and if the argument
was sound he could not lose money.

The fact of the whole matter is that every
business man who argues to himself in this
manner is deceiving himself. He is bolstering
up his hopes with a false argument, and the
very fact that he is not making any money
when his figures show that he is making a 100
per cent, profit should convince him without
argument that there is a fallacy somewhere in
his calculation.

The error lies in the fact that he is deceiving
himself as to the cost of his product, because he
does not make each job or each portion of his
business carry its proper proportion of the over-
head expenses. If he would make a correct
calculation of his expenses of doing business, he
would discover that, instead of making 100 per
cent, profit net, he is very fortunate if he can
make 10 per cent, net profit.

This is the reason why so many photographers
will cut prices, not only on regular work, but on
amateur finishing. Many photographers have
had the experience of catering to the amateur
finishing trade by proving to themselves that it
yielded a big margin of profit, but have later
become disgusted with it and given it up when
the results proved to them that they were not
making any money from it.

It is our opinion that amateur finishing is a
very valuable portion of the trade of any studio,
and if it is done at a proper price and given
sufficient attention and care to make the work
worth the price charged for it, it will add materi-
ally to the volume of business, and just as posi-
tively to the profits of the studio.

The argument that a photographer who mixes
up a batch of developer for his regular studio
work is able to develop films free because he is
put to no extra expense and because the little
time devoted to it is more than paid for by the
100 per cent, profit on making prints, is lying to
himself.

We have used the strongest word in the lan-
guage. Every red-blooded American will resent
the charge that he is lying, and we hold that
this characteristic trait is a strong and pure
Americanism. We urge our readers to study
their cost of production and to prove to them-
selves that they have been lying to themselves.
Many have deceived themselves through
ignorance. Many have been convinced to this
line of argument by some ticket seller or agent
who had his own ax to grind. Many have
deceived themselves deliberately. But, call it
what you will, or excuse it as you will, the fact
remains that when once the photographer be-
comes convinced that he is not making a profit
when his figures indicate that he is making 100
per cent, profit, then he is lying to himself some-
where, and it is high time that he discover how
it happened. If another man should call him a
liar he would knock him down. If he can prove
it on himself, he should show just as much energy
in resenting it. These are strenuous times, and
it requires very great care in figuring costs and
expenses. The man who advances prices should
fully understand why he is doing it, for if he
can justify himself in the eyes of his trade and

convince his customers that he is warranted in
the advance, he can be successful.

If he does not know why he is charging more,
he cannot convince his customers, and they get
the idea that they are being cheated or imposed
upon, and naturally will resent it. Every
advance in price should have a sound reason
behind it to succeed, but we can assure the pho-
tographers that they have many and sufficient
reasons for advancing many of their prices.

The expense of producing pictures does not
stop with the cost of material, or even with the
overhead of the studio. It extends to increased
costs in all of the many articles that are neces-
sary for keeping up the appearance of the studio,
and for making replacements. Also his personal
expenses have increased, and he requires more
for his own support.

These increases make it very necessary that
the photographer should improve his margin of
profit, but they may not all be arguments that
he can present to his customers, so care should
be exercised in determining those arguments that
will prove convincing to the public and those
that make the advance necessary, but in which
the public is not concerned.

We earnestly commend these statements to
our readers with the hope that they may be given
careful consideration. Each individual must
work out his own business success, for in this
country we have no paternalism. No kind
friend is going to compel the business man to
make a living. Unless the business man prac-
tices extortion, the government gives him a free
hand, and permits him to work out his own
destiny. Therefore, your success in business is
up to you, Mr. Photographer! — Trade News.

Enlist Your Lens in the Army

People of the United States are asked to help
the Signal Corps of the Army get lenses enough
for cameras for the fleet of observation airplanes
now being built. The need is immediate and of
great importance; the airplanes are the eyes of the
army and camera lenses are the pupils of those
eyes.

German lenses can no longer be bought in the
open market. England met this difficulty, in
the earlier stages of the war, by requiring lens-
owners to register lenses and requisitioning those
needed. England is now making lenses better
than the German ones formerly imported, but
no faster than needed for her own uses. The
Bureau of Standards of the United States Depart-
ment of Commerce is now perfecting a substitute
for the German "crown barium" glass used for
lenses, and will later be able to meet the needs,
and special lenses are being designed for this work.

The situation now, however, is that, with
airplanes soon to be ready for service, suitable
lenses cannot be bought. Hundreds are needed
at once. Possessors of the required types are
urged to enlist their lenses in the Army, They
are asked to immediately notify the Photographic
Division of the Signal Corps, U. S. A., Mills
Building Annex, Washington, D. C, of lenses of
the following descriptions which they are willing
to sell, stating price asked:
. Tessar anastigmat lenses, made by Carl Zeiss,

486

NOTES AND NEWS

Jena, of a working aperture of F. 3.5 or F. 4.5,
from 8i to 20-inch focal length.

Bausch & Lomb-Zeiss Tessars, F. 4.5., from
8| to 20-inch focal length.

Voigtlander Heliar anastigmat lenses, F. 4.5,
8| to 24-inch focal length.

Practically all of the lenses of these types in
America will be required, but the 8 -J- inch lenses
are most urgently needed.

12-inch condensers also wanted.

An Exhibition of Pictorial Photography Under

the Auspices of the Newark, N. J.,

Museum Association

An exhibition of pictorial photography by
American artists was held during the month of
October at the galleries of the Newark, N. J.,
Museum Association. The display was a travel-
ling exhibit, collected and arranged by represen-
tatives of the organization known as the Pictorial
Photographers of America, and it will appear from
time to time in other cities of the East and West.

The pictures were all mounted and framed
uniformly and in excellent taste, the frames
being included, doubtless, for the purpose of
protecting the prints in transit.

Publications of the Research Laboratory of the
Eastman Kodak Co.

We have been favored with a copy of the
second volume of the Abridged Scientific Publi-
cations from the Research Laboratory of the
Eastman Kodak Co., which includes abridgements
of papers issued from the Laboratory in 1916
and the latter part of 1915. The papers have
been previously published in various journals,
to which the reader is referred on each case.
These abridgments are mainly of a technical
character and the new volume is not intended
for general distribution. There are twenty-five
papers in all, and the authors include Messrs.
C. E. Kenneth Mees, the head of the Laboratory,
Orin Tugman, A. S. McDaniels, L. Schneider,
P. G. Nutting, L. A. Jones, M. B. Hodgson,
Kenneth Huse, S. M. Furnald, A. J. Newton,
J. I. Crabtree, Adolph H. Nietz, S. E. Shepard,
R. B. Wilsey, A. B. Clark and Frank E. Ross.

Death of M. Charles Mendel, Editor
Photo-Revue

From the latest copy of the Photo-Revue, we
learn with regret of the death of M. Charles
Mendel, its founder, in 1888, and editor and
manager since that date. M. Mendel published
a large number of the leading French works on
photography and did much to develop the
photographic industry in France. He was very
quiet and unassuming in manner, the pattern of
courtesy and kindliness, and leaves behind many
friends to regret his loss. He died, after a long
and very painful illness, at the age of sixty.

An Interesting New Catalogue

From Jas. H. Smith & Sons Co., of Chicago,
111., we are in receipt of a new catalogue of their
flashlight and other photographic specialties.
These include the Victor flash cabinet for studios,
Halldorsen home portrait flash lamp, Victor

portable flash-lamp for banquets, etc., the Cay-
wood flash-lamp, Victor and Inglis flash powders,
Victor intensifier, Victor opaque, Victor vignetter
etc.

A copy of this catalogue will be of interest to
every photographer.

An Important Price List of Chemicals

We bring to the attention of our readers for
careful perusal the monthly price list of Charles
Cooper & Co., 194 Worth Street, New York City.

The chemicals offered by this old and reliable
house are second to none and the prices are
named according to the quantity. They would
appreciate an opportunity to figure on your
requirements.

Photographic Division U. S. Army

Under the direction of Secretary of War,
Newton D. Baker, the photographic division of
the U. S. Army was assigned to the Signal Corps.
This division was created August 2 last, and
the following personnel of commanding officers
named :

Maj. James Barnes, Signal Corps, U. S. R.

Maj. Bert E. Underwood, Signal Corps,
U. S. R.

Capt. Charles F. Betz, Signal Corps, U. S. R.

First Lieut. Edward J. Steichen, Signal Corps,
U. S. R.

First Lieut. Edwin F. Weigle, Sigual Corps,
U. S. R.

First Lieut. Albert K. Dawson, Signal Corps,
U. S. R.

The Photographic Division will operate under
the direction of the General Staff and also in
conjunction with the News and Publicity
Division of the War Department. No citizen
photographer will be allowed to go with the
army in the field, and all photographs, therefore,
will be distributed through the committee on
information at Washington. The division will
obtain all necessary photography to form a
complete and comprehensive pictorial history
of the "War of 1917."

The Federal Photographic Society of America

The Federal Photographic Society of America
held its first meeting of the season of 1917-18
at the New National Museum, Washington,
D. C, on pctober 4, 1917.

Mr. Loring W. Beeson, honorary vice-presi-
dent of the Society, gave an interesting talk on
"Photography of Live Stock," which was greatly
appreciated by those who heard it and was
freely discussed afterward by all present. Mr,
Beeson was voted the thanks of the organiza-
tion for the information which he so ably
presented.

Plans for the Liberty Loan advertising cam-
paign were discussed. (See announcement on
another page of this issue.)

Mr. Carl L. Oswold was given a vote of
thanks for his thoughtfulness and patriotism
in suggesting such a praiseworthy method of
assisting our Government and for his help in
getting the suggestion under way.

NOTES AND NEWS

487

The next meeting of the Society will be held
in the New National Museum on Thursday,
November 1, 1917.

Anthony Ludwig, President.

Earnest L. C rand all, Secretary.

Photography as an Aid to Builders
The camera has become useful to building
contractors by its ability to prove the condition
of work at a certain date, says the Scientific
American. When necessary, photographs can be
offered in evidence in a court of law, and pro-
gressive firms are insisting on the insertion in
their contracts of a clause giving them the right
to use a camera. An English sub-contractor for
the woodwork in a large building recently for-
feited a sum of £400 for a delay for which he
was in no way responsible, simply because he was
not in a position to prove that on a specified
date the building had not progressed sufficiently
far to enable him to commence his operations.
The camera would have proved his case and
saved his forfeit.

U. S. Now Assured of Platinum Supply

An epoch-making chemical discovery that
promises to revolutionize the production of plati-
num and give to the United States Government
all of that most valuable and much-needed metal
that it can possibly use, has been made by Gen-
eral Russell Thayer, former chief engineer and
superintendent of Fairmount Park, Philadelphia.

General Thayer, whose high standing in the
community needs no comment, makes the as-
tounding statement that from the platiniferous
sands in New York State and other platinum
deposits in this country it is possible, by the
process he has discovered, to produce commer-
cially and supply the world with all the platinum
it can use in the next five years. Platinum just
now is worth $1600 a pound.

The latest reports on the Russian deposits of
platinum, from which the world has largely here-
tofore been supplied, show that they average only
!\ grains of platinum to a ton of sand, whereas
General Thayer thinks it will be found — and he
says the numerous tests he has made show it to
be the case — that the platinum metal-content of
the New York sands and other deposits in this
country will average from 15 to 40 grains to the
ton, which can be extracted commercially by the
process he has discovered.

Immense deposits of sand near the Adirondacks
conservatively carry values in platinum metals
of from $5 and upward in value per ton, be-
sides, he says, about $2 in free gold in a finely
comminuted state. His process is the key which
renders it possible to extract the finely commi-
nuted platinum metals he has found to exist in
the form of minute wires and in the colloidal
state in those sand deposits. The processes he
has developed extract both all the platinum
metals and the gold.

He has just tendered the United States the
free use, during the war, of his process for the
production of platinum, and says he will assist
the Government in every way in his power.

The principal use for platinum in connection
with high explosives is in the filtering and puri-
fication of the concentrated acids that are em-

ployed in the manufacture of these explosives,
platinum being the only known metal not sus-
ceptible to attack from either sulphuric, hydro-
chloric or nitric acids in their single state. Plati-
num will withstand a very high temperature, as
it melts at 1775° Centigrade, which is more than
4000° Fahrenheit. _

General Thayer is president of the Platinum
Metals Company, which controls a large deposit
of platinum metals — about 200 acres — with an
average depth of at least fifty feet. The volume
of platinum-bearing sands in this tract, he says,
would aggregate approximately 22,000,000 tons,
Taking platinum at its present value and allow-
ing the net recoverv to be S5 per ton, the value
in this tract would be worth §1 10,000,000. Tests
of these sands, he says, prove they will average
(taking platinum at its present value of $100 an
ounce) about S8 in platinum metals to the ton
of 2000 pounds. On the tract is a three-story
mill, built for the extraction of gold from these
sands. The mill is located in the town of Salis-
bury-, Herkimer Countv, N. Y.

Through Prof. James M. Hill, of the U. S.
Geological Survey, General Thayer has offered
the Government the property and mill, free of
rental, during the continuance of the war. This,
he says, taken in connection with the free use
of his process, would enable the Government
to produce platinum metals in considerable
quantities without much delay — the Govern-
ment installing as soon as possible the necessary
machinery and equipment to extract the finely
comminuted and colloidal metals which form the
great mass of the platinum metals deposit, by
means of his process and the amagnite process for
extracting the granular platinum and the gold
values. The gold values, General Thayer says,
will pay cost of extracting the platinum values.

He suggested to Prof. Hill that, if the Govern-
ment wished to produce its own platinum, it
would be wise to make an appropriation of
$100,000 to quickly install the necessary ma-
chinery in the mill.

Photographs in Demand

The Art Editor of The Ladies' Home Journal
sends us the following letter:

"Beginning with an early issue, it is our
intention to run each month three pages of
photographs which have not been published
elsewhere. The photographs selected for these
three pages must be of unusual interest; in other
words, striking, startling or amazing and of
such character as to make the reader of the
magazine 'sit up and take notice.'

"For instance, such subjects as the largest
steam locomotive ever made; a portrait group
of one family containing fifty-eight members
of which I recently saw a picture in a farm and
garden magazine; a group picture of thirty-eight
musicians, all world-famed (such a picture, I
believe, was recently made at a summer resort) ;
a landscape which would come within the
category of the unusual and the amazing, etc.

"We will pay an unusually good price for
photographs which have not been published
elsewhere and will not be released by you until
fifteen days after their appearance in The Ladies'
Home Journal."

488

NOTES AND NEWS

Eastman Co. Dividend

The directors of the Eastman Kodak Com-
pany, of New Jersey, have declared an extra
dividend of 7| per cent, upon the common stock,
payable on December 1 to stockholders of record
at the close of business on October 31. The usual
quarterly dividends of If per cent, upon the
outstanding preferred stock, and of 2\ per cent,
upon the outstanding common stock, will be
paid on January 2, 1918, to stockholders of
record at the close of business on November 30.

held at Canaan, Connecticut, in July and
August, 1918.

One month previous to the opening of the
school the office at 122 East 17th Street will be
open from 9 a.m. to 5 p.m.

For further information address Clarence H.
White, 122 East 17th Street, New York City.

The Clarence H. White School Moves to
New Quarters

The Clarence H. White School of Photog-
raphy opens its fourth winter session October
29, 1917, at 122 East Seventeenth Street, New
York. The new location is the old Washington
Irving House, and is noted for its beautiful
architecture, its spacious and well-lighted rooms
carefully arranged and equipped to meet the
demands of the school.

The course of instruction covers a period of
twenty-eight weeks, in lectures and practical
work, under carefully selected instructors and
lecturers, whose duties are to thoroughly famil-
iarize the student with the construction and use
of the various types of cameras and lenses, plates
and developers, and all printing mediums of
value to the photographer. The student will be
given practice in exposure and development; in
the use of light in the studio, and in home por-
trature; copying, enlarging, and in the applica-
tion of photography to the many new fields now
open to the photographer. One week in the
month of May will be spent in the country,
where the student will have the opportunity of
greater experience in out-of-door exposure, pos-
ing the figure in the open, photographing of clouds
in landscape, and landscape photography.

Students are familiarized with the fundamental
principles underlying the important works of
art, through carefully selected lantern slide
reproductions of important examples of art and
art photography, and are given criticism of exer-
cises in design, executed with pencil and camera,
in the cultivation of taste and personality.

Problems are assigned, and criticism of photo-
graphs submitted are given weekly.

Many of the students of former years are
now among the favorably known exhibitors of
this country and Europe, and some are success-
fully engaged in teaching and practicing the art
of photography. The school is continually in
receipt of requests for assistants in studios and
educational institutions.

A diploma will be awarded to each student
completing the prescribed course of study of
the school.

Tuition fee for instruction is $125 for each
half year (fourteen weeks) payable in advance.

Special courses have been arranged for stu-
dents who wish to take up only certain portions
of the work.

The school year extends over a period of
twenty-eight weeks from November to June
with vacation terms at Thanksgiving, Christ-
mas and Easter. Hours of attendance for
classes are from 9 to 12 and from 1.30 to 4.30.

Ninth Summer Session of the school will be

Photographic Subjects in Leading Periodicals

"Focussing in Portraiture," British Journal of
Photography, 1917, p. 338.

"A Bibliography on Color Photography,"
Motion Picture News, July 21, 1917, pp. 452, 886.

"The Photographic Rendering of Tone," by
C. E. K. Mees, Studio Light, July, 1917, p. 6.

"Douglas Natural Color Motion Pictures,"
Photo EraK September, 1917, p. 143.

" Restoring and Copying Daguerreotypes," by
B. E. Havelock, British Journal of Photography,
1917, p. 424.

"Carbon Portraits," British Journal of Photog-
raphy, 1917, p. 393.

"Drying Marks on Negatives," Kodakery,
September, 1917, p. 14.

"Sketch Portraiture Complete," by J. S.
Adamson, British Journal of Photography, 1917,
pp. 326, 339.

"Foggy Negatives," Studio Light, July 1917,
p. 16.

"The Parallax Method of Fine Focussing,"
British Journal of Photography, 1917, p. 322.

"The Properties of Contrasty Bromide Papers,"
Photo Revue, June, 1917, p. 3.

"Wild Animal Photography," by H. T. Mid-
dleton, Kodakery, August, 1917, p. 8.

"Some Trials of Kallitype," by C N. Bennett,
British Journal of Photography, 191, p. 378.

"A New Departure Screen," Motion Picture
News, July 21, 1917, p. 446.

"Qualitative Tests for the Commoner Devel-
opers," by W. Ermen, British Journal of Photog-
raphy, 1917, p. 390.

"Technical Requirements for Profitable Photo-
Engraving," by A. J. Newton, Photo Engravers'
Bulletin, July, 1917, p. 43.

"Standardization," Motion Picture News, Sep-
tember, 1917, p. 1875.

"Halation," by C. E. K. Mees, Kodakery,
September, 1917, p. 18.

"Sepia Toning," by C. L. Gregory, Moving
Picture World, September, 1917, p. 1854.

"A Method of Test Shutter Speeds," by R.
V. Wilson, Photo Era, 1917, p. 114.

"Light Filters and Large Apertures," British
Journal of Photography, 1917, p. 410.

"Enlarged Negatives and Transparencies,"
Photo Miniature, August, 1917.

"Covering Power and Definition," British
Journal of Photography, 1917, p. 411.

"Fixing Baths," Moving Picture World, Sep-
tember, 1917, pp. 1542, 1698.

"Remedying an Overdeveloped Negative," by
A. E. Thomas, British Journal of Photography,
1917, p. 442.

"Drying Negatives," Kodakery, September,
1917, p. 22.

THE WORKROOM

By t5e JiedtT Operator

Preparing Your Own Paper with American

Stock
The Teeth in Photography
Toning Developed Prints

How to Learn Retouching without a Teacher
Acetone Bisulphite
Trifles

Preparing Your Own Paper with American
Stock

From the time that the war in Europe began
every avenue for the outlet of photographic
paper made in Germany has been closed, and the
time may not be far off when photographers
may be compelled to prepare a large proportion
of paper themselves.

It is not necessary to use paper of German
manufacture. There are a number of excellent
papers made in the United States that may be
employed. One kind in particular is known under
the name of "Angora," white, manufactured
by the Whiting Paper Company, of Holyoke
and New York. This paper is made in sheets
measuring 21 x 33 inches. It has a very fine-
grained surface, and is made in 70 and 80 pounds
to the ream. Either of these papers may be
used with confidence if prepared as will be
described in this article. The price is very
reasonable; half a dozen sheets may be pur-
chased for twenty-one cents, and one dozen for
forty cents. Another quality of paper which is
capable of yielding excellent results is that
known as Whatman's hot-pressed paper, which
may be purchased for twelve cents per sheet of
a suitable size for easy handling. Also some of
the Strathmore papers, made by the Woronoco
Paper Company, of Holyoke, Mass.

The writer has prepared a considerable
quantity of printing-out paper quite recently,
using both the "Angora" and "WThatman's, "
the last-named paper possesses a stronger grain
than the Angora and is of slightly cream color.
The peculiar grain is not visible until all the
photographic manipulations have been carried
out, and during the various operations of toning
and fixing it must be handled with more care
than the Angora, because it approaches the
quality of blotting paper while in a wet condition.
The results, however, are unsurpassed by other
papers for special purposes.

When preparing paper of the size mentioned
it will be advisable to construct a special tray
for the work — in fact, a double tray — employing
one side for the albumenizing of the paper, and
the other side for the sensitizing solution, the
bottom of the tray being made of stout glass.
The gauge used by the writer was five-sixteenths
of an inch thick, good polished plate, three feet

Removing the Film from a Cracked Negative

Some Common Causes of Airbrush Failures

Hanging Pictures Flat

Reproduction of Black-and-white

To Find Infinite Focus

The Capabilities of Lenses

Cutting Rubber

and three-quarters of an inch long, and two feet
and three-quarters of an inch wide — the extra
three-quarters of an inch permits of the plate
being set in a three-eighths-inch groove all around
in the wooden framing.

The sketch of the wood framing, in section here
given, will explain how the bottom of the tray is
fashioned in the middle; hence a double tray, or
two trays in one. The groove at A is for fitting

the glass into, while the sloping sides, B and C,
give the necessary internal slope to permit of
pouring the liquids readily into any receptacle.
The mitered corners of the tray are cemented
together with thick shellac in place of glue, and
the glass plate is held in position and made
water-tight by a mixture of common whiting,
oxide of iron, and shellac varnish, made into a
thick semiliquid mass and placed in the groove
where the plate is fitted; the whole wooden
framing being drawn together by a piece of
stout, strong string being passed around the
whole frame, with pieces of wood placed at the
corners to prevent the string cutting into the
wooden frame when the pressure is applied by
placing a stick through the folded string and
twisting it several times, so as to shorten the cord
and thus draw the joints together with con-
siderable force. Then when this is done, the
corners of the woodwork are secured by inserting
a seven-eighths or one-inch narrow-gauge screw
diagonally, using four screws at each corner.
Then when the cord or string is loosened a two-

(489)

490

THE WORKROOM

and-a-half-inch stout screw is inserted at each
side, one above the glass plate and the other
below, so that the tray becomes firmly put to-
gether with no fear of any joint becoming loose.
The heads of the screws are sunk into the wood-
work and covered with the same cement that
holds the glass plate in position, which is more
like stone in hardness when it becomes set, at the
same time being proof against the action of the
solutions used. The spaces left between the
groove and the glass plate must be filled in level
with the same cement, which as soon as it
becomes well set may be trimmed with a sharp
wood chisel and sandpaper. Two coats of shellac
varnish will complete the interior, and the
exterior may be coated with a covering of oxide
of iron and shellac.

The tray will now be ready for use. Such a
tray will last for years with hard use. It can
always be ascertained when it is clean, and may
be used for such purposes as pasting large prints
without fear of contamination from the bottom
of the tray. Of course, if the sheets of paper are
cut in halves, then a tray may be made to suit,
upon the same lines, half the size.

With such a tray completed, the following
solutions may be made up, and three dozen
wood clips prepared by dipping the ends into
hot paraffin. This is to prevent the wood of the
clip absorbing any of the chemical solution, and
also to prevent them sticking to the paper. The
following formulae have been put to the test in
every-day work, and are being used today, giving
excellent results. The solution given here is for
matt albumen paper, a genuine matt albumen.
The supply of this paper having been stopped,
owing to the war, now is the time for photog-
raphers to prepare their own paper and thus
secure a distinctive class of portraiture.

Albumenizing Solution for Matt Paper

Distilled water .... 76 fl. oz.

Chloride of ammonium (c. p.) 330 gr.

Chloride of sodium (common

salt) ... . . 330 gr.

The albumen of one dozen fresh eggs.
Under no condition must any of the yolk be
allowed to enter the mixture. In the first place,
beat the albumen of half a dozen eggs thoroughly
in a moderate-size bowl or basin with a silver-
plated or silver fork for five minutes; this to
break up the albumen. Add thereto, while the
beating is in progress, four fluidounces of the
above quantity of distilled water; add this to
the mixture, then beat up the other half-dozen
eggs in like manner and add this also; then shake
the mixture vigorously, employing a wide-mouth
bottle and a good-fitting cork. This mixture
should be shaken well occasionally during the
day and then left for twenty-four hours. At
the expiration of this time the albumen will
have become well incorporated with the water
and the salts. The tray must now be leveled
and the mixture passed through a piece of
wetted cheesecloth with eight folds, placed over
a pitcher, so as to hang in bag form, and the
albumen mixture after another good shake-up
is passed through the cheesecloth, when it will
be ready to pour into the tray, which must be
done by pouring the mixture against a strip of

glass so as to prevent the formation of air-
bubbles as much as possible.

Having accomplished this, the existing bubbles
(there surely will be some) must be removed by
drawing over the surface a strip of clean paper,
about eight inches long, so as to form a scraper,
drawing the bubbles to one end of the tray, where
they may be wiped off.

Coating the Paper. Take a sheet of paper
(after marking the back with lead-pencil) by the
opposite corners diagonally, lowering the center
slowly upon the liquid, and lowering the ends.
This done, place three of the clips along the
farther side of the paper to prevent its curling;
then lift one corner so as to uncover the paper
to the center. The bubbles that are formed and
the spaces that have not touched the liquid
must now be brushed over with a flat bristle-
brush dipped into the albumen. (Such a brush
in tin setting may be bought for five cents.)
Turn up each corner in the same way, treating
all unwetted spaces in like manner; remove the
clips and allow the paper to float until it lies
quite flat, which may require four or five minutes.
Now lift the sheet at one end, attach a clip
at each corner, draw the sheet slowly off the
liquid so that it leaves the tray at one end,
where it may be suspended to dry. Any
marks or streaks of albumen that may adhere
to the face of the paper must now be re-
moved by a stroke of the brush that has been
used upon the paper. Any number of sheets
may be prepared in this way and dried, because
paper thus prepared will keep well for any
length of time. When the paper has become dry
it must be laid back down upon a clean, level,
table-top, and the surface rubbed down well
with a fold of canton flannel or a folded piece of
cheesecloth. This will even the surface and
dispel any persistent air-bubbles that have
dried with the paper. If it is desired to secure
exceptionally brilliant prints, still possessing a
perfect matt surface, the sheets may be refloated
and suspended by the opposite end. The second
floating will give less trouble than the first. This,
however, is not necessary. The single coating
will answer the purpose, and in the case of
Whatman's paper one coating only will suffice.

The excess of albumen may be returned to
the stock-bottle for use again if required within a
week. After this time the liquid will decompose.
Freshly made albumen solution, made as
described, may be added to the old and will
work perfectly. It will be found advantageous
to keep these sheets flat until sensitized, after
which they may be rolled or cut to the required
sizes and kept, either in a cardboard or a tin case,
or plate boxes for the cut sizes, wrapped simply
in clean paper. No calcium chloride or any
other moisture-absorbing chemical is needed.

Sensitizing. The next operation will be the
sensitizing of the paper.

Sensitizing Solution
Distilled water .... 90 fl. oz.
Recrystallized nitrate of

silver 13| oz. av.

Citric acid (crystals) . . 2\ oz. av.
Dissolve the nitrate of silver in 70 ounces of
the above distilled water, and the citric acid in

THE WORKROOM

491

the remaining 20 ounces, and when dissolved add
it to the nitrate solution. Test with the argen-
tometer, and add distilled water until the solu-
tion indicates 60. Finally, add 5 ounces of pure
alcohol (not wood alcohol). Shake the mixture
well and filter, when it will be ready for use.
About 30 ounces of nitrate of silver solution should
be made, indicating 75 on the argentometer, a
portion of this being added to the sensitizing
solution to keep up the strength.

This solution must now be poured into the tray.
The paper being ready, with the pencil mark
upon the back, it is taken hold of at one corner of
each end, and gradually lowered upon the liquid.
There will be little or no tendency to curl. The
salts within the albumenized surface quickly
absorb the nitrate, causing the paper to lie flat.
The paper must now be lifted at one corner so as
to expose half the sheet of paper (diagonally).
If any air-bubbles exist they must be wiped over
with the rounded end of a glass rod dipped into
the silver solution. Each corner of the paper is
submitted to the same operation. The paper
must be permitted to remain upon the solution
for five minutes, then lifted at one end, attaching
two of the clips that have been treated with
paraffin, and the sheet drawn over a glass tube at
one end of the tray and permitted to drain well.
Put one corner of the paper into the tray, then
suspend over a glass funnel resting in a bottle
so as to receive the drippings until they cease,
which is accomplished in the time it takes to
float another sheet of paper, the first one
being suspended elsewhere to dry.

All these operations of sensitizing and drying
must be conducted away from actinic light. An
eight c. p. gas jet, or an incandescent lamp
covered with pale orange paper, will answer the
purpose.

As soon as the sensitized paper has become
thoroughly dry it may be rolled up, wrapped in
a good quality of white paper, and kept in a
closet away from light, or it may be cut to size
and packed face to face, wrapped and stored in
the ordinary cardboard plate boxes, ready for
use. A 21x33 sheet will cut into eight pieces
8 x 10, allowing sufficient margin to cut off
around the outside to give clean-cut pieces.

The alcohol that is used in the solution is em-
ployed for two purposes: (1) to aid in preserving
the albumen from being dissolved in the solution
and (2) to aid the rapid drying. The citric acid
is a preservative, causing the paper to keep well
for some time after sensitizing.

Printing the Image. When using this paper
in the printing frame a sheet of stout paper must
be placed directly upon the paper, which has been
made slightly damp by being placed between
sheets of damp blotting paper, and a piece of
stout blotting paper placed upon this. The
back of the frame is then inserted, the springs
closed, and exposure to light made. This damp
(not wet) pad emits just enough moisture to
cause the production of beautiful rich prints.
If the paper is used in an exceedingly dry con-
dition the prints are not so brilliant, and the
lower half of the picture, when the frame has not
been opened, will prove to be more brilliant,
owing to the pent-up moisture of the backboard

and padding having contributed the necessary
moisture no vent having been given during
exposure and examination. The whole process
is a very simple one, and is well understood by
every practical photographic printer who has
used matt albumen paper.

Toning the Paper. Toning the prints may be
carried out in either an alkaline gold toning bath
or in an acid platinum toning bath. The latter
produces exceptionally fine prints of a beautiful
black tone. This solution is made up as follows:

Acid Platinum Toning Solution

Distilled water .... 30 fl. oz.
Chloro-platinite of potassium 15 gr.
Syrupy phosphoric acid . 2 dr.

Make up the toning solution as follows:
Take of the above stock solution 4 fluidounces ;
distilled water, 30 fluidounces; nitric acid, 2
drops. This bath will keep well, and may be
used many times over by the addition of an
ounce or two of the stock solution at each toning,
which must be carried well along until the
tendency to blueness disappears. The prints
will require to be well-washed before toning,
about ten to twelve changes of water will be
required until no milkiness is seen. This will
indicate that the free nitrate of silver in the
paper has been eliminated.

If gold toning is resorted to, the toning solu-
tion given here will answer the purpose better
than any other. Very fine brown tones may be
also obtained with the acid platinum bath as
described simply by cutting the time of toning
short.

Gold Toning Bath

Water 40 fl. oz.

Sodium carbonate ... 10 gr.
Sodium acetate .... 50 gr.
Chloride of gold . . 3 to 5 gr.

This bath must stand after mixing for twenty-
four hours before use. After toning and washing,
the prints are fixed in the following solution:

Fixing Bath

Water 60 fl. oz.

Hyposulphite of soda . . 10 oz. av.

Common salt .... 2 oz. av.

Ten minutes in this bath will suffice, after
which the prints must be well washed for half
an hour and suspended to dry. If they are
intended to lie quite flat, they must be blotted
off and dried between blotters under pressure,
changing the blotters several times during a
period of ten to twelve hours. Prints so treated
will lie perfectly flat and retain this condition.

The sensitizing solution will become slightly
discolored after use, but this can be gotten rid
of by placing in the solution about 2 tablespoon-
fuls of kaolin (china clay), costing 10 cents per
pound, or 80 grains of bicarbonate of soda may
be added to the solution, shaken up well, then
stood outdoors exposed to daylight for forty-
eight hours, when it may be filtered and the black
organic matter rinsed out and placed in the
waste crock or barrel for silver waste.

492

THE WORKROOM

The Teeth in Photography

I do not recall any paper in the journals or
year-books specially treating the above topic,
though the matter is one which is not without
interest to the portrait photographer, seeing that
it is being continually brought before his notice
in practice. I should say that perhaps one out
of every twenty sitters, or so, will more or less
make a claim upon his attention in this con-
nection.

It is remarkable how differently photography
presents some things as compared with hand art,
or as they appear to the eye. No doubt this is
accounted for in large measure by its uncompro-
mising literality, which declines alike to mitigate
a defect or to favor a good point beyond its due,
without a good deal of what might be called
careful circumventing, aided by experience and
natural tact. All the facial members demand
attention, but I think it will be admitted that
the mouth and all about it give most trouble of
any of them. The feeling which most sitters
have when they first see their photographic
presentments is that we have contrived to make
the mouth appear too large, too heavy, and so
on, but it is more particularly regarding the
plenishing of this useful organ I wish to write.

The teeth, however perfect, regular, and
beautiful they may be (and their owner justly
proud of them), next to nobody wants promi-
nently exhibited in their photographs. For-
tunately the majority of people can close the lips
in an easy, natural manner, but many cannot
do so without a conscious and obvious effort,
caused by a prominent interior formation. This
obvious strained effect is duly registered by the
camera, and the question will often arise in the
mind of the operator, Should the sitter close the
lips or leave them apart as is his wont? In some
cases nothing else than this last can be done, and
whenever the choice between a strained effort
and that which is usual to the sitter must be
made, the latter, with all its defects, is decidedly
preferable, because that subtle thing we call
expression will be less interfered with in the
latter case. It is a risky matter to directly make
suggestions regarding the disposition of some
members, say of the hands for example, lest we
make things worse, and no less is it a risk in
reference to the mouth. A request to close it is
apt to produce a too firm and compressed appear-
ance with some sitters, who unconsciously assist
the operator overmuch.

I have found that a light, reposeful position
of the lips is gotten by most people if they just
quietly close or shut the teeth together; for
many sitters close the lips while the teeth remain
apart; but, of course, each sitter must be dealt
with on his own merits.

The subject is in some respects a delicate one
to manage; but, given an operator who has a
proper appreciation of this feeling, much can be
accomplished.

When it is decided that the teeth must be left
visible they can often be made less conspicuous
if the face is turned from the light — the side-
light diminished and a high side-light increased.
The effect of this is to throw the mouth in the
shadow of the upper lip; at the same time care

should be taken to pose that side of the face
which will best lend itself to the object in view.

The screening effect of this shadow can be
advantageously observed when a portrait of this
class is viewed by reflected light through the back
of a negative. I have known a sitter to like a
portrait seen in this way, who demurred to it in
the finish print, which then revealed details
not seen in the other form. Let the shadow
therefore be deep enough to print well out.

It is a little out of the retoucher's way to make
good dental deficiencies on the negative, but
when necessary this is just what he should do;
modeling here is equally called for with that of
skin texture, the removal of wrinkles, etc., and
very few will object to it.

Just one more suggestion. It is not in the
power of every sitter to easily call up what may
be described as a latent smile. Any approach
to the idea of smiling reveals the teeth. I have
often in such a case secured the wished-for effect
by drawing attention away from the mouth by
asking the intelligent sitter to smile with the
eyes, or to smile in thought, or to call up the
conception of a bright, sunny look.

The foregoing remarks are intended to apply
to every-day studio portraiture. When genre
pictures are aimed at, or costume and character
studies projected, especially when children in
their fresh growth and beauty are concerned, the
conditions are altered, and what in one case may
be undesirable, in the other becomes welcome,
or is adopted of set purpose. — G. C. M.

Toning Developed Prints

The desire to obtain colors other than those
given by developing per se has led the manu-
facturers and users of bromide and so-called
gaslight papers to resort to different methods.
Of the many methods used, the one that has
found the greatest application is the so-called
sulphide method, of which the Velox redeveloper
may be taken as a good example. Sulphide
tones properly made are permanent. Sufficient
time has elapsed since their introduction to
thoroughly prove this. Facility of production
is also in their favor. The tones are, however,
not very varied, nearly always being some shade
of sepia. Experiments to obtain some other
permanent sulphide tone were made by the
writer with what appeared to him to be a fair
degree of success. It was found when finished
prints made on Velox and Nepera bromide
papers (I mention these papers because my experi-
ments were confined to them) were immersed
in a solution of ammonium sulphocyanide and
sodium sulphide, a good purplish tone, very
often equal to a gold tone on printing out paper,
was obtained.

The following formula has proved the most
satisfactory of any tried :

Ammonium sulphocyanide
Water to make

Sodium sulphide
Water . . .

(crystals)

8oz.
16 fl. oz.

2 OZ-

3 oz.

THE WORKROOM

493

Following are condensed instructions for its
use:

Bath No. 1

Solution A 1 oz.

Water 3 oz.

Solution B .... 1 dr.

Mix just before toning.

Immerse the fixed and washed (and perfectly
dried) print. The toning action begins almost
immediately, ranging through the purple tones
first and then into the sepias.

Allow the print to remain in the toner until
the desired color is reached, then wash fifteen
minutes in running water and dry as usual.
With the bath at 70° to 80° F. prints will tone
in from fifteen to forty minutes; at 90° to 100°
F., five to fifteen minutes will suffice; but it is
not advisable to use the bath at a higher tem-
perature than 100° F., owing to its softening
action on the film. Prints developed with Velox
N. A. developer tone quicker than prints devel-
oped with ordinary developer.

The rapidity of the toning may also be in-
creased by adding more of solution B, but not
more than 1 dram should be added to the
original solution at one time, as this would ren-
der the bath too alkaline and soften the film.
It works best when freshly mixed and after forty
minutes or so more B solution may be added.
The old bath may be kept for future toning, but
before use it should be filtered or decanted to
remove the white precipitate formed, and fresh
B solution added, but it should be discarded when
it becomes so alkaline as to affect the film.

It will be found that the toning is influenced
somewhat by the character of the negative used,
different degrees of density in the negative affect-
ing the silver deposit on the print and the sub-
sequent action of the toning solution. It will
also appear that matt papers tone more readily
than the glossy, and that purple tones are easiest
secured on glossy papers. It must be confessed
that the laws governing the action of this bath
are not as thoroughly known as could be desired.
Sometimes it will work quite rapidly, and again,
under apparently the same conditions, it works
much slower.

An Alternative Formula. Further experiments
have shown that its certainty of action could be
greatly improved by mixing with it hypo alum
toning solution, made according to the following
formula:

Hypo 10 oz.

Water . .... 50 oz.

Heat to boiling and add —

Powdered common alum . . 2 oz.

Allow to stand until cold. It improves by
standing.

Bath No. 2

A | oz.

C \ oz.

Water 3 oz.

B ldr.

When B is added the solution is clouded by
the precipitate aluminum hydroxide. This pre-
cipitate does not interfere with the toning action.

This latter bath (No. 2) yields tones equal to

and quite often superior to the former bath
(No. 1).

It also smells more strongly of hydrogen sul-
phide, and it is not advisable to use it where
the ventilation is poor. As its action ceases more
of B can be added. The latter bath has also
better lasting qualities. I have known it to tone
without adding an additional quantity of B after
it has stood overnight.

An Improvement to Sulphide Tones. Prints
from some negatives when bleached and rede-
veloped with sulphide solution sometimes incline
more to the yellow than is desirable. Having
ascertained this fact, colder tones can be obtained
on subsequent prints to be toned by using bath
No. 1 as a preliminary bath. How long the print
should remain in bath No. 1 cannot be stated
with exactness, as there are several factors to
be taken into consideration; chief among these
are (1) how much the color given by the bleach
and redeveloping method differs from the desired
color; (2) how fresh bath No. 1 is. The fresher
the bath the quicker it works. Other things
being equal, the longer the print remains in
bath No. 1 the colder the tone. In a freshly
prepared bath at the ordinary temperature even
fifteen seconds is enough to effect a change in
color in the finished print.

As a general thing any immersion — even one
falling far short of the time necessary to produce
a visible effect — is quickly made apparent by
the print refusing to bleach as much as it would
have done were it untreated when placed in the
bleaching solution. Prints should be well washed
before placing in bleaching solution, and should
remain in it from five to ten minutes, or until
it is certain that the bleaching is completed.
After bleaching, prints should be rinsed free from
bleaching solution and redeveloped as recom-
mended in the Velox developer instructions.

What chemical reactions take place in what I
would call the sulphide sulphocyanide method of
toning I have not investigated far enough to state.

However, hydrogen sulphide is released, and
this in its nascent condition no doubt has power
enough to attack the silver of the image. It is
also certain that other reactions have an effect,
for if the ammonium sulphocyanide is replaced
by an equal weight of the potassium salt the
toning action is very much slower.

To the question, Why does this method give
a different color from that obtained by simple
bleaching and redeveloping with sulphide solu-
tion? It might be answered: Because the con-
version of the silver is not so complete as in the
latter process. In reply I would say that it would
be hard to imagine the colors obtained on some
prints as resulting from a combination of sepia
and black.

As they are, the processes described are prac-
tical, but there is room for improvement.

How to Learn Retouching without a Teacher

Retouching! Oh, I don't go in for portraits,
therefore I'm not interested in retouching.
That, my friend, is just where you make a mis-
take, or rather two mistakes. The first is in
thinking that retouching is only of use or interest
to the portrait-worker, and the second mistake

494

THE WORKROOM

follows — like Euclid's propositions — from the
first, i. e., not "going in" for retouching your
landscape or other subject negatives. For there
are very few negatives of any kind or subject
which cannot be improved by a little retouch-
ing. But, alas! another very common mistake
is, that having found how easy it is to acquire
the elements of retouching, the thoughtless
hurry-scurry worker does far, far too much. So
that the last state of his negative is worse than
the first: he has pencilled not wisely but too well.
As an old hand at retouching, who has from time
to time taught several friends the elements of
the matter in one personal lesson, I strongly
recommend the beginner to start off with almost
any kind of a subject rather than a portrait.
In a portrait we are handicapped in two ways:
first, by being too much concerned with facial
expression; secondly, in this work we need the
delicacy of handling which only comes after
some practice. Therefore I say leave portraiture
aside at first, and take, let us say, a small land-
scape negative. Let this be one that we have
discarded so that we may have no qualms about
spoiling it.

Our requirements are very few and cheap.
First, a three H pencil (Hardtmuth's) in cedar
(hexagonal).

Second, some retouching medium which may
be bought in twelve-cent bottles from any dealer,
or we can prepare our own at next to no cost.
Take a quite clean and perfectly dry ordinary
size medicine bottle (e. g., 6 or 8 oz.); half-fill
this with good turpentine. Take a bit of. ordi-
nary resin just about the size of a small cherry,
or, say, twice the size of a full-grown green pea.
Crush into powder and add to the turpentine in
the bottle. Then stand the bottle in a basin of
warm water and shake occasionally. Then set
aside for twelve hours. Take now a small bottle
— an old clean scent-bottle is just the thing —
and carefully decant about a dessertspoonful of
the clear part of the turpentine and resin mix-
ture. Point the pencil with rather long sloping
cuts of the wood, laying bare about half an inch
of the lead, and point the lead by rubbing on a
bit of sand-paper, or old file, or rough ground
glass, or a large flat pebble from a shingle beach.
The lead must be as sharply pointed as an ordi-
nary pin.

Now with P. O. P. make a print from the
negative. Remove the back of the printing
frame; with stopper of the small scent-bottle
apply two or three (not more) drops of medium
to the film, and then rub this all over the film
with a spiral or circular motion, using a bit of
clean, dry fluffless rag. Then wait about ten
minutes for most of the turpentine to evaporate.
Meanwhile, by means of some books, tilt up
the front edge of the printing frame at a con-
venient angle. Put the work table in front of a
window. Lay a sheet of clean white paper on
the table just in front of the negative, so that
when we look through the negative toward the
white paper we have an evenly lighted white
paper acting as a reflecting light background.
Shade the eyes from light by a piece of stiff
brown paper held flat against the upper part
of the forehead by means of a piece of broad
elastic, or lower the window blind so that the

eyes are shaded, but that good skylight falls
on the paper reflector. Now examine the print
in a shady place. Note some part — probably
in the foreground, where there are several small
patches of light and shade; perhaps a tuft of
grass showing some nearly white lines and dark
lines. Turn to the negative, and begin by gently
dotting and touching with light, short strokes
these lines and patches of nearly clear glass.
At first little or no effect seems to come from
our dots and strokes; but patience and blacklead
will begin to show a little presently.

Do not begin by confining your "touch" to
any particular kind of dot or stroke, but use all
kinds of touches; sometimes a dot with a tail to
it like a comma, sometimes two or three lines
close together, and then crossed at a slight angle
by other lines; sometimes a spiral touch, some-
times a wavy line, sometimes a to-and-fro touch,
as though trying to sharpen the point. When
your patience is exhausted and you have done
your best to fill up the thinnest parts of the
corner of the negative, then take another print
and compare the two. If the prints are not over-
darkly printed probably you will be surprised
to find that your retouching shows more than
you expected. Probably, also, you will notice
that it prints rather more "scratchy" than you
quite like. But that you will get over with a
little practice and experience.

Do not trouble about pictorial considerations
at first, but go on making experiments with first
one kind of touch and then another, until you
see for yourself just exactly how much lead on
the negative is required to produce a certain
effect. Then take two small patches which print
a little different and work on the thinner one,
until they print exactly the same strength. This
will lay a good and useful foundation of knowl-
edge on which we shall be able to build some
useful experiments in another chapter.

Acetone Bisulphite

The use of acetone bisulphite in the "aro-
matic" and "phenol" developers, such as
eikonogen, glycin, and all the others, is not so
general as its importance would warrant.

For a number of reasons it is preferable to
sodium sulphite, not the least among which is
its cheapness; only one-eighth of the quantity
is required of "acetone sulphite" if it be used in
place of the sodium salt.

Solutions containing up to 50 per cent, of the
organic salt will keep excellently, and if concen-
trated solutions of the commercial developers
be diluted with a 2 per cent, solution of acetone
sulphite instead of water, they will be found to
last longer and be far more active.

A beautiful etching-like tone may be produced
on bromide paper by giving an exposure ten
times as long as normally necessary and then
developing with a solution in which the sodium
sulphite is replaced by one-eighth of its weight
of acetone bisulphite.

If it be added to a ready-made normal devel-
oper, it will act as a restrainer.

Edinol 4 dr.

Water (distilled) . . . . 8| oz.
Acetone bisulphite . . . . 1 dr.

THE WORKROOM

495

This is a useful formula if working with a slow
shutter on rapid plates in a bright light. By
means of such a solution as this, if a plate has
been hopelessly overexposed, it may be devel-
oped to give a negative, to all appearances,
properly exposed.

The addition of a little of the acetone salt to
the hypo keeps the fixing bath clear and fresh
for a long time.

Perhaps the chemist may not have acetone
bisulphite in stock, in which case it may be
easily made by anyone having, as most photog-
raphers have nowadays, a little chemical appa-
ratus and the skill to put it together.

First, make a strong solution of potassium
metabisulphite in water, and set the bottle con-
taining it in a bowl of cold water or ice. Fit a
small flask with a cork and glass tube, which
must dip well below the surface of the bisulphite
solution in the bottle. No rubber joints may be
used, nor is the rubber cork permissible, on
account of the action acetone has upon it. Half-
fill the flask with acetone, and dip it into a sauce-
pan of boiling water. The acetone will quickly
evaporate and the gas pass into the bisulphite,
where, after a few minutes, white crystals will
be seen forming. When at last no more are
thrown down, the liquid may be drained off and
the crystals of acetone bisulphite dried between
sheets of blotting-paper under slight pressure
(pass them through the mangle, for instance).
In this condition it will keep indefinitely. A
warning must be given in conclusion, and that
is, have no light near, as acetone vapor is highly
inflammable.

Trifles

Perhaps one might better entitle this note by
some such phrase as "the importance of certain
trifling matters in photography." In all depart-
ments of mundane affairs we may find examples
of the importance of apparently small things,
and the wisdom of our forefathers found expres-
sion in such wise saws as "Take care of the pence
and the pounds will take care of themselves,"
"A straw will show which way the wind blows,"
"A pebble will determine the course of a river,"
and so on.

It is certainly true that often a quite trivial
matter may be the cause of a photographic
failure.

Dust. For instance, suppose a lens be left
uncapped on a shelf for a single night in a rather,
but not very, dusty room, i. e., such a room as
that occupied by the majority of town dwellers,
the room having a carpet in it and a few people
walking about the room during the day. These
people will stir up a cloud of very fine dust, and
some of this during the night will settle down
on the unprotected glass of the lens. Now, such
a fine layer as this is quite likely to escape our
notice, but yet it is quite enough to interfere
with the best performance of the lens. But one
or two black smuts settling on the otherwise
clean surface of the lens would be noticed and
removed, yet if they be left on the lens they
will do very little harm as regards interfering
with the performance of the lens. Their action
simply amounts to stopping, perhaps, one hun-
dredth or less per cent, of the light, just as a

postage stamp stuck on the glass of a shop win-
dow might stop a trivial amount of light, but
the fine layer of dust is acting in a way compar-
able to a piece of very finely ground glass; and
if we want to see what that means, all we have
to do is to hold the focussing screen of our
camera between our eye and the sun or a lamp
flame.

Reflections. Then, again, what a lot of mis-
chief may come from any part of the inside of
the lens tube or fitting wearing bright and
becoming a reflecting surface. How many
ghost-like, mysterious markings on negatives
could be traced to the edges of stops or iris
diaphragms wearing bright.

Speaking of reflections, let the reader be
warned against the common mistake of thinking
that reflections may only come from the lens,
and if that be a good dead-black inside, nothing
else need be thought about. On the contrary,
it is not at all uncommon to find the woodwork
inside the body of the camera bright enough to
do harm. To verify this warning let the reader
remove the lens and ground glass, and then
putting his head under the focussing cloth, point
the camera to any strong light, e. g., the sun or
lamp, and look for reflecting surfaces all around
the part where the plate is when it is being
exposed in the camera.

Faulty Shutters. Another source of trouble
which more than once has puzzled the unfortu-
nate worker is a tiny pinhole in the thin part
of a roller blind shutter. As we do not often
examine the inside of the camera when the blind
is down, this trouble may exist and spoil many
a plate before the cause is even so much as
suspected.

A Curious Case. The present writer some time
ago had a curious and puzzling experience with
a certain camera. At somewhat long and rare
intervals a plate would be fogged, and though
the camera was examined again and again, the
cause could not be found, until one day the
ground glass was being turned back to make
room for the double back plate holder, when a
spot of light was noticed. To make a long story
short, the cause of the trouble was that when
the rising front of the camera was in one certain
position an old screw hole inside the camera
came opposite the slot of light and admitted
light and fogged the plate. In a case of this
kind one might use that camera every day for a
lifetime and yet never hit upon the one position
to bring mischief about.

A Grain of Sand. Another case came within
the writer's experience when the whole of the
exposures of an outing with a hand camera were
fogged because one grain of sand somehow or
other had found its way into the mechanism of
the shutter and prevented the shutter closing
quite light-tight.

Another trouble which may come from a
grain of sand is in causing the draw slide of a
plate holder to jam. Yet another trouble from
the same source is when a grain of sand gets
between two plates when repacked after exposure
for the return home. If the grain of sand gets
on the film side it will most likely cut a nasty
hole in the film, and this is quite sure to be in a
place of some pictorial importance. If the sand

496

THE WORKROOM

grain gets on the glass side it is quite enough
to cause a crack or break in the glass if the
plates are packed tightly.

In a Dark-room. To go into the dark-room
for a moment, we are at once faced with a score
of little things which may give us a lot of trouble
if they are not attended to with some care. A
dirty bottle or old cork is used for a new solu-
tion, and trouble results, or a stopper is laid
down on a dirty work table for a moment, where
it picks up some contamination which it carries
to the bottle and contents on its return. Per-
haps the trouble takes the form of fine spots or
pin-hole markings which are not, in this case,
due to dust (the usual cause), but to the use of
a developer taken from a bottle in which some
sediment has accumulated, and as the solutions
get used up this sediment gets stirred up, and so
finds its way on to the plate. Again, small dust-
like markings may at times be traced to chem-
ical dust floating in the air, such as pyro, finding
its way onto the plate, or it may be rust brought
down by the water-supply pipe from the metal
storage tank or cistern or water pipes, or it may
be sand or lime particles in the water.

The foregoing little things, all mere trifles,
things easily overlooked, and truly as easily
avoided when thought of, are given simply as
examples.

When one thinks of the many ways in which
it is possible for the adventures of a negative or
print to take an unfortunate turn, the surprise
is that ever a negative escapes the almost count-
less chances of coming to grief in one way or
another among the many trifles which beset its
path.

Removing the Film from a Cracked Negative

It sometimes happens that a negative of value
becomes cracked in such a manner that the glass
only is broken, not the film. There are several
ways by which the difficulty of printing from
such a negative may be overcome so as not to
show the crack. One method in particular is
the insertion of a piece of albumenized paper
or good tissue paper between the face of the
negative and a piece of clean glass plate the size
of the negative, then binding the two together
with strips of gummed paper. The best results
are obtained by this plan when albumenized
paper is used.

Sometimes more than one crack is produced
in a negative, in which case the difficulty of
utilizing such a defective plate is greatly
increased.

Many times the question of how to best remove
the film and retransfer it to another glass plate
has arisen. One difficulty — if not the most
important — has presented itself, namely, how
to penetrate the substratum which holds the
gelatin film composing the negative, so as to
release it from the glass support, because the
substratum is generally a compound of gelatin
and chrome alum, which is harder and more
adherent to the glass than the gelatin film.
This is often noticed when cleaning old negatives
with hot water and carbonate of soda. Although
the film dissolves from the plate perfectly, the
substratum still remains in patches in such an

adherent form as to require the use of a knife
to effect its complete removal.

There is a method of accomplishing this with-
out the use of either hot water, soda, potash,
or of strong mineral acids, none of which is cer-
tain in its action.

The process here to be described is one of great
simplicity — one that can be used with certainty
by any person, the solution employed being quite
cold, and the application of heat being quite
unnecessary. In fact, the colder the solution
the better the result.

If the negative is a portrait and the face has
been retouched, it will be advisable to remove
the retouching with a tuft of cotton moistened
with turpentine and cleaned off thoroughly.
This, however, is not absolutely necessary, for
a film can be removed just as well with the
retouching on as if it had been removed. Which-
ever plan is adopted, a small amount of retouch-
ing will be required after retransfer. One point
in particular must be attended to: the trays
used must be thoroughly clean, and only hard
rubber or composition trays can be employed,
for reasons which will be explained. The bottles
that are to contain the stripping solutions must
also be quite clean. In fact, use new ones so as
to be quite sure of this. The results will repay
those who undertake this extra trouble.

The composition of the chemicals given below
is the same as that known as "Magus." It is
not only simple, but sure and certain in its action.
Prepare the two following solutions in two sepa-
rate bottles:

No. 1
Fluoride of sodium . . . . | oz.
Water (ordinary) . . . . 16 oz.

Cork this bottle, shake well, and mark "No. 1."

No. 2
Citric acid in powder
Water ....

1 oz.
16 oz.
Shake this well, cork it, and mark "No. 2."

Have at hand a clean glass plate, say 6| x 8§,
in a tray of clean, cold water. If the negative
to be stripped is 5 x 7 it should be transferred to
a 6^ x 8| plate, so that if the film is not placed
quite truly, it will be a very easy matter to cut
the plate to the right size after the film has
dried. To strip the film from the cracked nega-
tive, take 4 fluidounces of No. 1 and pour into
a tray of hard rubber, 6| x 8|; then add 4 ounces
of No. 2. Rock the tray so as to obtain complete
admixture of the two solutions. Then immerse
the negative, film side uppermost; carefully rock
the tray, first endwise, then crosswise. Allow
it to stand for half a minute, then rock again.
It will now be seen that the film is frilling slightly
at the edges. Rock the pan a little. Now, with
the forefingers and thumbs of each hand, lift
the film clean off the cracked plate, place it in
the water above the clean glass plate, lift the
plate by the two top corners, and adjust the
film so as to leave a clean margin all round.
Lift the plate and film together by the top, and
drain slightly. Lay the plate in a horizontal
position and carefully adjust the film so that
there are no air-bubbles present. See that the
film perfectly adheres to the glass support.

THE WORKROOM

497

Then, after draining oft" the excess of water,
allow the transferred film to remain in a hori-
zontal position until dry. Never allow the dry-
ing to take place with the plate in a vertical
position, for the film may become split. There
is just enough tackiness upon this side of the
film to admit of its adhering firmly to the glass
plate. By this method of transfer a valuable
negative may be saved for future usefulness.

A very useful adjunct for this class of work
is a very thin soft squeegee. With the aid of this
handy tool the transferred film may be set down
very evenly upon its new support and the excess
■of water removed at the same time.

It may be advisable to make a trial or two
upon some discarded negative before attempting
the transfer desired. This will give the practice
and confidence necessary for the final operation.

The process will appear marvellous to those
who have never performed such an operation.
The true action is this : When any acid is brought
into contact with fluoride of sodium (citric acid
in particular), the element fluoride separates
from the sodium base and attacks the glass sur-
face through the porosity of the film. By this
means the adherence of the gelatin film, together
with its substratum, is released, the film being
then easily lifted. At the same time the citric
acid combines with the sodium to form citric
of sodium, which remains in the water. Several
negatives may be stripped in the same solution.

Some Common Causes of Airbrush Failures

The advent of the airbrush as a tool for dis-
tributing color has opened up a field of expan-
sion hitherto undreamt of by artists, designers,
and ticket writers, etc.; but this valuable little
ally will respond with full efficiency only on con-
dition that certain limitations of its power be
recognized and made allowance for. Ignorance
and lack of proper care will result in failure and
unmerited abuse of either the tool, the colors
used, or possibly both, for reasons which I will
endeavor to explain.

The best-known type of airbrush has a long,
fine-pointed needle, fitting through a platinum
sleeve so closely and accurately that when in its
forward position it would be difficult, nay impos-
sible, upon merely pressing down the lever to
allow even clean water to escape, but upon
drawing back this lever (to which the needle
is attached), with the downward pressure still
maintained, a fine spray will be scattered which
will increase in volume the farther the needle is
drawn back. The full extent of the needle stroke
does not exceed T\ of an inch, and so gradual
is the tapering that, even when drawn back
to its maximum, only the thinnest mixture of
color can pass evenly between the sleeve and the
needle. It follows, therefore, that if we are to
obtain the most satisfactory results it will be
necessary to build up our tint by repeated spray-
ing with thin color until we have reached the
brightness or strength required. Such work,
when finished, will be practically grainless and
not liable to rub off, provided, of course, that the
drawing surface is free from greasiness or has
been primed by either of the following methods:
(1) Rubbed over gently with a pad of cotton-

wool dipped in prepared pumice powder, (2)
sponged over with weak ox-gall, or (3) coated
with a thin substratum of albumen or gelatin.
This priming is necessary only when working
over highly glazed cards, or photographic sur-
faces which are liable to repel color. Bristol
boards, or other drawing-papers will not require
this treatment if quite clean.

It is of the utmost importance that the air-
brush should be kept scrupulously clean, and
never laid aside with a trace of color remaining
in it, or trouble will assuredly follow. Pass two
or three lots of clean water through it before
commencing work, also on completion, before
putting it away in its case. During use it
should occasionally have the inside of the nozzle
cleaned with the point of a brush, and this very
frequently if body color is being used, or it will
accumulate around the point of the needle and
cause trouble by frequent spitting.

Quite the majority of airbrush failures are
traceable to the use of color mixed much too
strong or thick, instead of building up gradually
with weaker color in the manner already
described. Ticket writers and designers are the
people most prone to err in this direction when
attempting to obtain their strong effects by one
short spraying of color used much too thick.
Such methods are foredoomed to failure, for not
only has the spray a disagreeable sandy grain, but
it will also possess a strong tendency to rub off on
the slightest provocation, for the following reason :

The stability of a water-color tint depends
upon a certain quality of absorption in the paper
surface, and when this is laid on by hand with a
full sable or camel-hair brush, the best conditions
have been fulfilled to secure its firm attachment,
such wash being of a united or continuous char-
acter. Subsequent washes may be added with-
out disturbing the previous ones, provided, of
course, that these have been allowed to dry.

Now, if for any reason it is thought desirable
to augment these hand-laid tints by finishing
ones sprayed over with the airbrush, this may
safely be done.

The case is very different with color laid on
entirely by the airbrush. An airbrush spray,
even when applied under the most favorable
conditions, has not the same hold of the draw-
ing surface as the wash painted on by hand.
The color is blown over the paper in the form of
scattered dots separated from each other at
varying intervals according to the distance the
point of the pen is held from the surface. The
farther away, the wider apart the dots, and the
more liability to rub off at this stage, because
much of the moisture is evaporated from the
color before it reaches the paper, and its hold is
somewhat precarious. The sole chance it has
of adhering firmly depends upon repeated appli-
cations until these isolated dots are joined by
others and so merged into a continuous tone..
When strong or imperfectly mixed color is used,
this scattering action is still more pronounced,
and with it there is increased tendency to rub
off, because the air-pressure, taxed to its utmost
capacity in drawing it through so small an aper-
ture, leaves these minute color particles insuffi-
cient moisture with which to attach themselves
firmly. In a vast number of cases the airbrush

498

THE WORKROOM

tint represents only ground work upon which
it is necessary to add further drawing by means
of brush or pen, and it is here that serious diffi-
culty is met with, because, unlike the hand-laid
washes, the airbrush one, parched on its surface
for the reason already described, is of a porous
character and easily works up under the brush
or ruling pen, and absorbs the color, causing it
to spread in a manner suggestive of blotting
paper. This difficulty can best be overcome
by rubbing over the airbrushed surface when
quite dry, with a clean pad of cotton-wool, using
only sufficient pressure to remove the "bloom."
If a little gum water be now added to the color
in ruling pen or brush, but not sufficient to allow
of the added work drying with a glaze, it will be
found to work satisfactorily.

Hanging Pictures Flat

To a certain extent the variable slope forward
of pictures in a reception-room, corridor, or
gallery introduces an irregularity which destroys
to some eyes the effect of the display. This is,
we think, felt most of all in a corridor, or in any
rather long and somewhat narrow room where
a side view of the main display is readily ob-
tained. In such cases there is a great deal to
be said for keeping the frames quite flat against
the wall. There are various ways in which this
may be done. One method is to use two small
screw-eyes in the top of the frame, and to drive
two small brass pins provided with heads into
the wall. The frame then hangs quite vertically
and the back of it is in contact with the wall.
The screw-eyes, however, are apt to detract
from the effect. When the walls are match-
boarded, and then covered with some decorative
material, as is often the case in a studio or the
corridor leading to it, pictures may be hung flat
in a sort of panel by the use of glass plates.
The effect is not good, however, except in cases
where a number of frames all the same size are
to be displayed. To each of the frames — i. e.,
the picture frames — three glass plates must be
attached, two at the bottom edge near the cor-
ners, and one at the top in the center. The low-
est row must be hung first, and if there is a dado
rail it may be possible to slip the glass plates
at the bottom of the picture frames behind this;
otherwise each picture frame must be fixed by
three screws, one for each glass plate. The pic-
tures of the second row will rest on the upper
edges of their brothers of the lower row, the two
glass plates slipping between the wall and the
lower picture, and the single glass plate at the
top being screwed to the wall. The work of
hanging is thus fairly rapid, because once a
start is made each picture only requires one
screw to hold it in place. Nor need these screws
be large, as a three-eighths screw neatly screwed
home will attach a glass plate securely enough
to hold the weight of an average man. Of course,
such a method is only likely to be employed in
cases where a display of frames will remain up
for some little time. With some kinds of plas-
ter wall the method is equally applicable, pro-
vided the pictures are of moderate size. A hole
should be made in the wall by tapping a bradawl
in gently, and then it will be found that a half-

inch, thin screw may be screwed in, and will
hold quite well. With some of the hard modern
plasters we would not attempt this, however,
and in any case the screwhole will be more
noticeable afterward than the hole made by a
small pin or nail.

Another method, quicker than that described
in the preceding paragraph, but not so readily
applicable to a close-hung panel, is more simple
in execution than it is to describe. Suppose we
have a frame the rebate size of which is exactly
12 x 10 — that is, the outside size of glass and
backboard is 12 x 10. Suppose the picture in
this frame is the upright way on. Now, if we
drive two small nails into the wall, both on the
same level and 6 inches apart, we can hang our
picture on these nails, assuming that the rebate
is a deep one, as is the case with almost all the
narrow beadings used for small frames nowadays.
In other words, the backboard must not be
flush with the back of the frame, but must be
sunk, say, three-eighths of an inch. But the
frame so resting by its upper member on the
two small nails will be in a precarious position,
because it is only resting and is not held. Sup-
pose, however, we drive the nails ten inches
apart instead of six, we shall find that we cannot
hang the frame on them except in this way. Hold
the frame flat against the wall, with one of the
nails right into the top left-hand corner. Now
lift the top right-hand corner higher up the wall,
covering up the second or right-hand nail; then,
keeping the picture frame pressed quite flat
against the wall, gently draw the right-hand
side down until the picture is "straight." It
will now be found quite firm, but may be taken
down at any time by reversing the process.
The handiest nails are the small brass pins sold
for nailing brass picture hooks to the wall. In
driving them into the wall, avoid placing them
with too great a distance between, or the cor-
ners of the picture frame may be forced apart,
while too small a distance tends to insecurity.
A tap with the hammer will often bend the
nails toward each other or apart, as may be
needed, and it is the heads of these special nails
which hold the picture frame, and not the
shanks. — British Journal of Photography.

Reproduction of Black-and-white

In the reproduction of subjects in black-and-
white — that is, manuscripts, engravings, line
drawings, plans, etc. — a method must be em-
ployed entirely different from that made use of
in reproducing subjects having half-tones or
gradations of light and shade.

We must have an entirely different mode of
illumination, and must endeavor to get rid of
the grain of the paper, or rather the shadow of
the grain. A flat light is indispensable, and this
is best secured out of doors, the illumination
coming from the front.

THE WORKROOM

499

Mr. F. E. Ives recommends the following
method for orthrochromatizing an ordinary
plate: Dissolve 1 grain erythrosin in 4 ounces
alcohol. Filter the solution. Bathe the plates
in this for two minutes, rocking the tray, then
wash in distilled water and dry.

As regards exposure, it is best to make a trial
plate for varying periods. Give the whole plate
thirty seconds, then push in the slider a certain
distance, giving forty-five seconds, or fifteen
seconds more, and so until you give ninety sec-
onds. One cannot get the best results without
ample exposure, but excessive exposure is to be
avoided, as it clogs up the lines and defeats efforts
after density. The lines in the negative should
be clear glass and the page dense black.

The Development. Pyro is capable of giving
density, but it has a tendency to veiling or of
showing the characteristic pyro stain. Hydro-
quinone is preferable to any other agent.
Lumiere's formula is perhaps the best:

Hydroquinone .... 8 gr.

Sodium sulphite (gran.) . 80 gr.

Formaldehyde .... 1 dr.

Distilled water . . . . 1 oz.

This contains neither alkali nor bromide, but
yields very intense negatives. In cold weather
this developer must be warmed to 70°.

The main thing to be observed for black-and-
white work is clear lines, so if it should happen
that your developer gives any indication of veil-
ing, stop developing at once, wash off and fix
thoroughly, and again wash well from hypo.

If on examination any sign of veiling is visible
in the negative, it will be absolutely necessary
to clear up the plate before intensification.
Belitzski's formula is good:

Potassium ferric oxalate . . 10 gm.
Sodium sulphite (gran.) . . 8 gm.

Oxalic acid 3 gm.

Hvpo solution (J) ... 50 c.c.
Water 200 c.c.

Flow the plate over with this until the lines
are clear glass and then wash.

Another clearer (Bartlett's) is:
Perchloride of iron (ferric

chloride) 60 gr.

Citric acid 120 gr.

Water 16 oz.

Bathe the negative in this and then thoroughly
wash.

A good intensifier is iodide of mercury, made
by adding a solution of potassium iodide to a
solution of mercuric chloride (10 per cent, solu-
tion) until the brilliant precipitate formed just
redissolves. After intensification, soak for ten
minutes in sodium sulphite and wash.

Pencil drawings sometimes give much trouble
in copying. A piece of very fine ground glass
placed in close contact over the pencil drawing
in a printing frame, and the copy made through
this, gives better results than direct copying.

Blue prints are, of course, hard to reproduce.
A yellow screen placed in front of the print turns
the lines into a dirty green. An orthochromatic
plate is then made use of.

The paper employed will depend upon the
character of the print required. Platinum, of

course, may be made to give rich black lines,
but bromide paper, properly treated, gives as
good results at much less cost.

Ferrous oxalate must be used, about one part
of iron solution to five parts of oxalate solution.
Add the iron to the oxalate and about five drops
of 10 per cent, solution of bromide of potassium
and five drops of 10 per cent, solution of citric
acid to every six ounces of developer.

To Find Infinite Focus

Multiply equivalent focus with its own fig-
ure, and then by 100. • Divide this total with
speed mark, multiplying by 12 — thus a lens F.6
— 6h equivalent focus would result thus: 6^ x
6| = 44J x 100 = 4225— divided by F.6 = 6
x 12 = 72/4225 = 58* feet. .

The Capabilities of Lenses

To the majority of photographers lenses for
portraiture present their greatest interest, and
it is here, perhaps, that there is most room for
error in selection. There are a few elementary
facts which must be borne in mind when com-
paring lenses, and these we will briefly recapitu-
late. The drawing or perspective of a picture
is regulated entirely by the point of view or dis-
tance between the object and the observer, or,
in our case, the lens. The form of the lens, be
it single, rectilinear portrait combination, or
anastigmat, does not alter the result, nor does
the focal length. This latter does, of course,
affect the size of the image, and if the focal
length be too short, the lens cannot be used at
such a distance as will give an image of the
desired size in agreeable perspective. If the
diaphragms are correctly marked by the maker
with the standard apertures, or, in any case,
in fractions of the focal length, the exposure
required will be the same if the same aperture
be used — that is to say, that practically any
lens marked with an aperture of f/8 will require,
under the same conditions, the same exposure
as any other lens of the same aperture. There
may be small variations due to the thickness
or color of the glass, but these do not materially
affect the exposure.

Let us start by comparing the older type of
portrait lens, usually called the Petzval, with
the newer portrait anastigmats. In order to do
this, we must altogether ignore the makers'
statements as to the size of plate for which the
lens is suited, for times have changed, and we
do not now use a lens to the limit of its covering
power, but start by selecting a focal length which
we know will give satisfactory drawing. For a
cabinet portrait most artistic workers demand a
focal length of at least sixteen inches, and at
this length there is little to choose between the
costly anastigmat and the portrait lens upon a
field of eight inches diameter, which is all we
need for a cabinet negative. It is true that when
we go beyond this limit, the definition of the
portrait lens falls off rapidly, while that of the
anastigmat remains good over a circle equal
to its focal length. We recently had the oppor-
tunity of comparing the performance of two
lenses, each having a focal length of about six-
teen inches, one being a very old portrait lens

500

THE WORKROOM

while the other was a first-class anastigmat.
The former had a maximum aperture of //4,
while the latter had one of f/5.6. Stopping the
portrait lens down to this aperture, duplicate ex-
posures were made, and it would have puzzled
anyone to say with which lens either nega-
tive had been taken. The price of the portrait
lens was exactly one-fourth of that of the anas-
tigmat. Now for the other side of the question.
The portrait lens was, so to speak, fully extended
by this test. By using a smaller stop, say //8,
a b\ x 8 1 plate might have been decently covered,
whereas the anastigmat would have given a
well-defined full length upon a 10 x 12 plate if
necessary. Naturally the stand-point would
have to be too near to be pleasing, while a large
head would be out of the question on account
of the drawing.

With smaller sizes the portrait lens does not
show up so well, and the anastigmat, if procur-
able, should always be chosen, especially for
full lengths. Some portrait lenses having a
round field work excellently upon seated figures,
but if the swing-back be used the flat-field lens
is equally good, while the full aperture being
available for standing figures minimizes the
chances of movement.

With lenses for groups and outdoor work the
same arguments apply. If the focal length be
great in comparison with the size of the plate,
the rectilinear and symmetrical types are quite
satisfactory, but when a focal length equal to
or less than the diagonal of the plate is needed,
then the superiority of the anastigmat is seen.
Even then much may be done with the recti-
linear by reducing the aperture, and this is gen-
erally necessary to secure sufficient depth of field.

It is in the instantaneous branch of photog-
raphy that the anastigmat shows to the best
advantage. Here the older forms of lens are
left hopelessly astern. The great covering
power allows of a short focal length being
employed, and we find that one of about seven
inches, the aperture being //4.5, is commonly
used for press work. Our advice to the budding
press photographer is to look on a good lens as
a pearl of great price, and to give all that he
can to secure it. — British Journal of 'Photography.

Cutting Rubber

When a rubber stopper has to be bored or cut
the tool should be kept moistened with a strong
solution of caustic potash or caustic soda; it
will then be found that the knife cuts as easily
as it will cut ordinary cork.

{

PATENT NEWJ

Copies of any patent can be obtained from the
Commissioner of Patents, Washington, D. C.
Price, five cents each.

Photographic Shutter. Paul J. Marks. 1238422.

Photographic Shutter. Andrew Wollensak.
1238471.

Focussing Device for Cameras. John E. Wood-
bury. 1238474.

Combined Finding and Focussing Mechanism for
Cameras. John E. Woodbury. 1238473.

Method of and Means for Producing Designa-
tions on Photographically Sensitive Elements.
Henry J. Gaisman. 1238504. #

Photographic Apparatus. Henry J. Gaisman.
1238505.

Method of and Device for Designating Photo-
graphic Exposures. Harry J. Gaisman.
1238506.

Shutter-operating Attachment for Cameras.
Harry C. Atwood. 1238621.

Autographic Attachment for Cameras. Z. E.
House. 1238674.

Film-handling Apparatus. George R. Macomber.
1238694.

Color Photography. Frederick C. Ives. 1238775.

Aeriel Carrier for Photographic Films. William
F. Folmer. 1238904.

Apparatus for Operating Flashlights. Herbert
V. Sheppard. 1238948.

Photographic Camera. Robert Kroedel. 1239017.

Photographic Shutter. Paul J. Marks. 1239025.

Motion Picture Film Cleaner. M. E. Noble.
1239295.

Reel for Picture Machines. Wm. E. Millar.
1239504.

Photographic Film Cartridge. Harrison Gindele.
1240335.

Photographic Film. Frederick E. Ives. 1240344.

Photographic Print Washing Machine. Elmer
Crusey. 1240425.

Print Drying Apparatus. M.B.Martin. 1240468.

Focussing Camera. Joseph Becker. 1240651.

Focussing Camera. Joseph Becker. 1240788.

$1-50 A YEAR

THE PHOTOGRAPHIC
JOURNAL OF AMERICA

VOLUME LIV

DECEMBER, 1917

NUMBER 12

ft ft ft ft ft ffl ft ft ft ft ft ft ft

77?/5 Number Contains:

A TALK ON COMPOSITION
ARTISTIC LIGHTING

By Felix Raymer

WORK OF FREDERICK POHLE

By Sidney Allan

A FEW IMPORTANT POINTS IN
COMMERCIAL PHOTOGRAPHY

A FEW REMARKS ON SHOW-
CASES

PRACTICAL PAPERS ON STUDIO
WORK AND METHODS

THE WORKROOM

INDEX 1917

W W W W W W W W W WW

HAS THE QUALITY CIRCULATION
OF THE PROFESSION

THE OLDEST PHOTOGRAPHIC MAGAZINE IN AMERICA

In 1909 it was stated of

Cyko Paper

"Each grade of Cyko has more latitude,
plasticity, chromatic rendition and proper
scale of gradation than any other paper.
Its scope is unlimited"

and yet its scope has been enlarged
every year since, so that Itl 19 17 it

CYKO is the single and universal expression
of photography today

Ansco Company

Binghamton, N. Y.

BY FREDERICK POHLE
BUFFALO. N. Y-

PHOTOGRAPHIC
- JOURNAL-
'S^ AMERICA •

VOLUME LIV

DECEMBER, 1917

NUMBER 12

**•

DEC 7 1917

A TALK ON COMPOSITION

THE moment we commence a pic-
ture we begin to compose. This
does not mean that we are artists,
except possibly in an embryo state. Our
compositions, to be lifted toward art,
must have in them some of the elements
of beauty, thus showing results that
emanated from the carrying out of a
thoughtful conception of the brain. As
we attempt to do this, arriving to a
greater or less extent at a beautiful
result, then so far do we advance in the
direction of art, even if but a step. By
the "elements of beauty" we do not
mean to imply that our subjects must be
beautiful, or that, if decidedly unattract-
ive or even ugly, an artistic result may
fail on that account. The beauty in
them may be one or other of scores of
other things. For instance, it may be
the beauty of arrangement, either in the
general composition or in special portions,
but over and in all there must be unity
if the composition is to be really success-
ful. By this beauty of arrangement
(for composition is the science of arrange-
ment) is meant not only the pose itself,
with the balance of the figure, the

principal lines of beauty in the drapery
of the figure, and the movements of its
lines, but also of the accessories, the
lighting, the shadows, the grouping of
the lines of light and dark and other
details which enter the picture. Beauty
may also consist elsewhere than in the
subject or in the arrangement, which,
while it may well be composed and satis-
factory, may not be the principal object
of attraction in the picture. Thus it
may consist in the conception in the
artist's mind. In looking at his creation
we may, for instance, read the life and
character of the painter or photographer,
as the case may be. The fine sensi-
bilities, the temperament, the character,
the aspirations and the grandeur of his
own life may all show in part in the work
which he produces. One of the greatest
delights that we can experience is in
realizing this beauty of the conception
of the artist. When a man's work thus
reflects his mental self, and that mental
self is in sympathy with the picture
painted on the canvas, the subject in
every way supporting and carrying out
the same feeling, and if this in turn be

(501)

502

A TALK ON COMPOSITION

united with great beauty of conception,
well painted, then that piece of work will
embody within itself all the elements
of a work of art, becoming a master-
piece of the "grand style," as Reynolds
terms it.

As an illustration of this, take
Whistler's picture of his mother. This is
said by the critics to be one of his most
successful, if not his greatest work.
Those who have seen either the picture
or a reproduction will readily recall that
it is a horizontal full length sitting por-
trait of an elderly lady, with both the
body and face in profile and placed to the
right of the canvas. A study of this will
not only show the mother, but the rever-
ence of the son. He knew her best in
the simplicity of her life, in the simple
house dress that in its style and make
was a part of her, because it reflected her
taste. When he saw that dress, whether
it was worn or new at the time, it became
part of her individuality, and was, indeed,
part of her. Without that dress the
portrait would have been a failure, and
the same could be said of the chair she
sat in, plain as was her dress, simple as
was her quiet life. While looking at this
quiet lady sitting in her little chair, we
can all appreciate Whistler's feelings:
that he wanted the beauty of his mother
in every line and wrinkle as they
appeared to him. He wanted to express
the grandeur of her simple quiet life in
the dress and chair that were part of her,
in a room that is almost austere because
of its plainness and severity. We thus
readily see the artist's reverence for his
mother and get a true insight to his inner
life, being shut out from the world. It
shows us a different Whistler than the
one we may have conceived during his
career, with its struggle for recognition,
his intense opposition to his critics, and
his final and complete success as one of
the greatest of modern artists. This
portrait of his mother, which unveils the
soul of the artist, is plainly seen by all
artists and those who are possessed of
ability to read from such things. This
chapter may never appear in any sketch
of his life, but it is on record, and, like
the picture, it will live.

Now, here is an element of beauty
that lifts that picture into a work of art.

That is beyond the mere technic of
painting or anything at all connected
with the breadth, composition, or
arrangement of the picture, yet this
picture is famous among artists for its
beauty of arrangement. So highly ap-
preciated is it that you are most likely
to find copies of it in the possession of
most portrait painters. We can see
how easily the picture could have been
spoiled by the addition or removal of
even the least thing. Because of its
simplicity it will live, while many more
elaborate pieces, by equally great artists,
will not last even the painter's lifetime,
much less bring him fame after his
death. It is not only on account of the
picture by Whistler, but many similar
things in painting and artistic pho-
tography, that very frequent allusions
will be found in this series of papers to
the much repeated recommendations
of "simplicity" in your work.

Now, while impressing upon the reader
that composition is simply arrangement,
and that one of the greatest beauties of
arrangement is simplicity, it by no
means should be implied that more com-
plex things may not be beautiful in
arrangement. This comes only to the
genius who is able to handle such things
successfully, and can only be grown up
to as one's ability increases. At best,
the complex arrangement is a difficult
proposition to handle. There are other
things that enter into composition
beside arrangement, or, better still,
arrangement or composition may be sub-
divided under various other heads for
our more systematic understanding and
absorption.

To quote from a previously written
article published elsewhere: "Art is
broad, with no very definable or set
rules as to what should or should not be
done, for in the hands of genius, who
know no rules, all things seem to be
possible of being done with success."
Other artists of lesser light have gener-
ally accepted as an unwritten law that
certain things are best not done, and that
other things look well if done this way
or that. For our education we would
say that artists of the brush who have
spent years in study and have received
careful training are our best guides in

A TALK ON COMPOSITION

503

art principles. We should never pit
ourselves against them as a class, for in
the nature of things they are right and
we are wrong. We save ourselves
trouble and time and get more quickly
on the right road by at once recognizing
these facts, accepting the situation and
ceasing to butt our heads against the
brick wall, which does no harm to the
wall, while giving us a headache.

As to the extent we may follow them
in our treatment with the lens and
pictures in monochrome is for us to find
out. Suffice to say for the encourage-
ment of photographers as a class, we can
go very far — much more than appears
at a first glance.

Thinking that a similar view may be
held by some of my readers, I would say
that an intimate professional friend, who
is one of our best technicians, and also
possessed of considerable natural and
acquired artistic skill, recently remarked,
"All the artists can teach us is a
few forms of composition, such as
pyramidal, angular, circular, etc., and
subordination," with which opinion we
most emphatically disagree. If this
statement had been made by a man of
less marked ability, we would not have
noticed it; but, as he represents the
cultured and able class of our profession,
it may be well to consider his remark.

What does the artist produce on his
°anvas that is impossible to the photog-
rapher? Or, better still, what can we do
that he does? He employs color; we
can only express ourselves in mono-
chrome. He is able to obtain a compos-
ite expression that will give the soul
showing through the eyes, and paints
his conception of the subject's individ-
uality. This is our chief weak point,
for with us the consciousness of the sitter
is very apparent, and we rarely lose this
in the case of an adult, and the photo-
graphing to get the subject's individual-
ity, instead of our own, in his picture' is
our aim and constant study to attain.
W7hile recognizing the weakness of our
profession in this sense, there are occa-
sions when a fair measure of success is
accomplished.

In other respects we can at least be
good followers to the pace the artists
set us; first in our manipulation, in the

proper selection of lenses as well as the
employment of various printing processes,
as to the mechanical means, and by
securing and producing in our works the
art principles which the artists and
painters employ. While the lens natur-
ally sees too much, this need not be our
utter ruin, as at times we are fain to
believe, since it may be overcome.

We can, however, balance our compo-
sition by line, spot, or transition of line
or spot, by means of light or dark, by
secondary objects or interests, with their
proper weight of attraction. We can
give drawing, perspective, atmosphere,
values, and tone. We can produce a
suitable background for each model, as
does the painter. W7e can obtain
breadth by loss of detail, mystery,
suggestiveness, etc. We can have all
parts of our pictures hang together; we
can give gradation and vibration, and we
can give texture. In this last respect
we have the means, by proper lighting,
of having an advantage to some extent
over the painter. We can preserve the
planes in their proper relation. We can
obtain harmony, which is so difficult
with the colors, and we can produce
unity. There are a score of things for
us all, the only difficulty being to over-
come our commercial tendency in pro-
ducing pictures by the multitude, in
comparison to the quantity the painters
produce. Our compositions and appli-
cations of art principles must need be
done with lightning rapidity, compared
with the time a painter employs over
one picture, and, although his creations
from nothing are well worthy of the
higher rank given him in comparison
with our own means of production, yet
the attainment of a position of the
greatest artistic success possible with
the means at our disposal is a place so
high that none of us need for a moment
have aught but the greatest ambitions
toward reaching that goal which would
give us fame, that would not only to-
gether with our creations, but would do
for art photography that great value in
uplifting it in the reverence of the whole
human race, that would once and for-
ever set it on a pinnacle as one of the
greatest of the arts, there to stay until
the end of time.

STUDIO ETHICS1

By FRANK SCOTT CLARK

IT is a mistake for one photographer
to copy another. You should be
craftsman enough to create a style
entirely your own. It will cost you
less and place you at once on a higher
plane. You have all the material of the
various manufacturers to draw from.

Don't make the mistake of making an
overcharge on work not equal to those
higher up, as you will lose it through
your lack of strength to defend what you
did not earn with your own ability.

Half-hatched plans are useless; you'd
better throw them out. Thoroughness
is the vital thing, the country is full of
those who do not achieve what they
conceive. Pay strict attention to small
details in every department and don't be
afraid to take your employee into your
confidence, explaining calmly to him his
shortcomings, and if he be the right sort
and grasps your well-directed effort to
help him build up his craftsmanship to a
higher degree, he will in turn reciprocate
by taking a keener interest and render
you the same service with the same spirit
of frankness.

A fairly good craftsman will say: "I
cannot understand how Mr. S — is able
to command the price he is said to receive
for pictures. " I will say to the profession
that we are not all equal, socially, in-
tellectually, or physically. Personality
enables one to maintain his higher price
with much less difficulty. A strong per-
sonality with calmness of mind, common
sense, and a careful exactness of your
methods employed in the technical part
of your work will enable you to receive
just as much as Mr. S — when you have
attained his state of perfection.

A physically weak man can make him-
self strong by patient and careful train-
ing; so the man who is weak in his work
can make himself strong by exercising
himself in right thinking. Calmness of
mind is the result of a long and patient
effort of self-control. The calm man can

1 Some remarks before the Photographers'
Association of Michigan.
(504)

adapt himself to others; they feel they
can rely upon him.

The more tranquil a man the greater
his success; he can command a higher
price, for he is a better salesman than
the nervous, irritable man. Fix your
thoughts upon the faultless performance
of your duty; you should conceive of
a legitimate purpose and accomplish
it.

Do not work aimlessly, begin thinking
with purpose: having conceived of your
purpose you should work out a straight
pathway to achievement.

Doubts and fears should be put aside,
as they never accomplish anything.
Purpose, power to do, and all well-
directed thoughts stop when doubt and
fear creep in. Remember that nothing
comes of nothing, and they who have
laid up no materials in their store of
knowledge cannot expect much from a
brainier, much- travelled, and well-posted
picture-buying public. They can oftener
do better with their hand cameras and
are better pleased with the average post-
card than much of the miserably de-
veloped paper prints that are delivered
as examples of perfect photography.

Photographers are themselves to
blame for the condition of their business.
So much rotten work has been shoved
out of their studios that many people are
losing respect for them. There is noth-
ing more beautiful than perfection in the
art of photography. Too many workers
have been trying to copy the old masters,
using as their guide reproductions and
such works as Masters in Art.

These studies, so black-and-white, are
only fit for studies in composition. The
originals are soft and have luminous
shadows full of beautiful detail. The
photographer has copied them literally,
making the hands, arms, and back-
grounds of his pictures very dark, and, in
fact, his pictures are often muddy and
dirty.

It requires much skill to so carefully
light the figure that the parts subdued
will keep their luminous qualities, and

ARTISTIC LIGHTING

505

the figure will have, when the print has
been completed, its complete envelop-
ment with all its atmospheric qualities.
Pictures possessing these ideal qualities
are seldom made by our most advanced
craftsman. They can be made by much

patience and great skill, and when such
great work has been accomplished there
can be no such thing as an overcharge.
Don't be careless in selecting your
material. Deliver your work like a
master. Ask and receive a high price.

ARTISTIC LIGHTING

By FELIX RAYMER

THE light side of the face is com-
monly known to operators as the
plain lighting or the portrait light.
But the portrait light goes further than
one side of the face. When the lighting
is once made correctly it will be a
portrait lighting from any view of the
face. It is not possible to have a light-
ing that will show perfect gradations,
and action, concentration, and accen-
tuation from one point of view and not
show the same from any other point of
view. If we but once get the lighting
on the face right we can move the
camera from one position to another,
and the light will remain the same, as
far as artistic merit goes.

In this article, I intend to pose the
subject at the same place in the room,
and then continue the movement of the
camera, and give directions for making
different positions by simply viewing the
subject from different points in the room.
I fully understand that there are
operators who claim that each face
should be lighted for itself, and I will
agree to this. But it is an absolute
impossibility to light each face just the
same. If the operator were to attempt
it he would make a failure. There are
no two faces that catch the light the
same, and the operator will deserve no
credit for making them different as he
could not do otherwise. The only time
I see a necessity for changing the open-
ing in the light is when I want to
accentuate some part of the face or
figure, and to do this I have to draw
down the opaque curtains on my light,
as the smaller the opening in the light

the stronger the light and the greater the
accentuation on some part of the subject.
The larger the opening in the light the
more light can enter the room, and the
more that gets in the room the further
around the subject it will circle, and the
further around the subject it goes the
flatter it will make the lighting, or softer,
as some call it.

Again, I am aware that there are those
who claim they never use the opaque cur-
tains, mentioned ahove, on their light.
It is claimed that as good work can be
made without them as where they are
used. This I do not dispute. But I
do deny the assertion that as great a
control can be had over light as when
the curtains are at hand. If we place
a subject under the light and allow it to
fall in a flood all around it the result will
naturally be very soft and delicate. But
do we desire that all of our work shall
be of the soft, delicate order? Would it
not be better to have the light so cur-
tained that we could control it and get
any result that we wish? There are
times when we wish to accentuate some
parts, or, in other words, show some
parts of the composition to be of greater
importance than other parts. This is
not possible if the light strikes all parts
of the face with the same intensity, as it
will, of course, make all parts more or
less of a flat nature.

I have found, however, that this con-
centration of light and shade, using the
open light, can be more easily managed
under the single slant light, or the per-
pendicular light, than under the old
double slant. The reason for this is

506

ARTISTIC LIGHTING

that the old double-slant style allows
the light to fall into the room further,
because it sets in the room further, and
doing this it of course falls around on
the shadow side of the face further,
or rather, should I say, that it diffuses
around on that side of the face further,
unless the subject is posed quite a little
distance from the light. This will, of
course, require a larger operating-room
than the average studio contains. With
the double-slant light I find that it is
absolutely necessary that it be curtained
with opaque curtains if the light is to be
controlled at all and the room is a narrow
one. The principle of the matter is that
the further the light falls into the room,
or the further it is set into the room, the
further from it will the subject have to be
posed to secure the right direction, and it
will be remembered that the direction of
the light as it falls on the subject is of the
utmost importance as we consider it in
working the light after the directions
given in my last article. The one thing
that I am asked about almost every day,
and sometimes a dozen time a day, and
the one thing that seems to agitate the
minds of nearly every operator attending
the conventions, is summed up in about
three questions, and occur in the order
given. "What style light do you prefer,
single or double slant?" "What size do
you think it should be?" "What pitch,
or how far should it come into the
room?"

All of these questions may be disre-
garded if the idea is followed of having
the light, it matters not what the size,
fall on the face from one source and from
the right direction.

As to the style of light I prefer, my
answer is always that I would as soon
have one as the other, if they are of the
same size. The great trouble with the
average workman in deciding in favor
of the single-slant light is that he nearly
always puts it in smaller than he had the
double slants, and in doing this he finds
that the negatives made under it will
not be as soft and delicate as they were
under the double slant, for the reason
mentioned above, that the light does
not come so far into the room as it
did with the double slant, and the light-
ing is, therefore, of a stronger nature.

Again, it is necessary that we use more
front light in working the single slant
light in order to obtain the same delicate
results. The whole scheme of lighting
is made up of using side and top light,
falling from the front of the subject.
In the case of the double slant light we
have the light coming into the room
further, and it is not necessary that we
use so much front light. It is, of course,
essential that the light come from the
front, but we do not have to bring it as
much from the front as with the double
slant. If we do bring it as far front as
in the single slant, the excess of front
light, in addition to the excess of light
falling across the room, will give a flat
result. That is why we hear the saying
so much that "front light causes flat-
ness." It is because we have used too
much front light with the top light which
falls across the room and illuminates the
shadows. With the single slant light,
not having this excess of light falling
across the room, as is the case with the
double slant, we will have to get our
softness in another way, and the only
way we can do it is to have the light
come in on the subject further from the
front. In doing this we make our
shadows shorter and thinner, which
renders the soft effect desired. But the
light will be falling on the subject from
the same direction in either case, and
that direction will be from a point in the
light that will throw all of the shadows in
the face downward at an angle of forty-
five degrees. Notice the shadows, and
if they fall straight downward you are
using too much top light. If they are
falling across the face horizontally you
are using the light too low, or too much
side light. In either case there are but
two remedies: One to shift the curtains
until the shadows take the proper direc-
tion, the other to move the subject
further out into the room or nearer the
light, as the case requires.

There is one thing that can be borne
in mind to assist one in determining the
right direction quickly, and that is the
larger the source of light used the further
from it the subject must be posed to get
it falling on the face from the right
direction. Of course, the smaller the
source the nearer the light the subject

ARTISTIC LIGHTING

507

will have to come, as, for example, when
using a window, it will be found that the
subject will have to be posed within
three or four feet of the light in order
to get it falling on the face from the
right direction. Of course, in the large
double slant we will have to be much
further from it or use curtains, which
will simply be another way of making a
smaller opening.

Therefore, to sum it all up, we find
that there is no difference in the lights,
if we have a knowledge of what a lighting
should be. We can make the lighting
under one as easily as the other, after we
know what it takes to make an artistic
lighting.

The second question is, "What size
do you think it should be?"

It does not matter a particle what the
size of the light may be. As good work
can be made under one as the other. But
it will be of a different class. As, for
example, I stated above that with a large
source of light a softer effect will be
secured than with a small source. There
is the answer to the second question. If
you prefer snappy, crisp results, with
certain parts accentuated, and rich
shadows, they can be better obtained
with a small light. Bear in mind that the
smaller the source of light the stronger
will be the effect in the lighting. It will
thus be seen that a stronger effect is
possible by the use of a window than
would be the case with a light measuring
eight feet wide. Although it is possible
to secure just as soft results with the
window as with any other source, to do
it we will have to use either a reflector
on the shadow side of the face to bring
out detail, or the head-screen on the
light side of the face to tone down the
high-lights. In doing either of these we
are using an outside agency, so to speak,
to overcome a condition. If we use the
reflector on the shadow side of the head
we will not need the head-screen. If we
use the head-screen we will not need the
reflector. Some say they do not like to
use the reflector, but prefer to use the
head-screen, claiming that the reflector
destroys modelling. Others claim they
do not like the head-screen, but prefer
the reflector, claiming that the head-
screen destroys the brilliancy of the high-

lights. As for my own use, I at times find
that the head-screen is advantageous,
especially where the subject has an oily
skin, which will throw back the light,
giving rather a marble appearance to it.
The head-screen softens this down. At
other times I find the reflector better,
and this occurs where the subject has
a flesh that is dry and parchment-like.
In this case I desire to raise certain parts
of the face above others, and if I were to
use the head-screen I would be flattening
the whole face out worse than it was
in nature. With the reflector I can use
just enough to illuminate the shadows
and still preserve the high-lights-

After close inquiry I find that those
preferring the head-screen and advocat-
ing the idea of doing away with the
reflector are those who are using the
single slant light.

The reason for this is as above men-
tioned, that it is necessary to face the
subject further toward the light, or, in
other words, that more front light be
used when working the single slant
light. Less reflected light will conse-
quently be needed to illuminate the
shadows. All that is necessary is to
place the white head-screen over the
head, and the trick is done.

My experience shows that it is well to
ascertain what kind of a light a man is
using when he advocates any certain way
of working it. The men who use the
single slant work differently from those
using the double slant. But in all cases
we should be working for the same
results. And the only way in which we
can secure the same results is to have
the same results to secure. To do this
there must be some way that is the right
way.

The third question is, "What pitch, or
how far should the light fall into the
room?"

It does not matter. I would as soon
have the light standing perpendicu-
larly in the room as to have it drop in.
While I have said that it does not matter
as to the size of the light, I prefer one of
goodly dimensions, for the reason that I
can, by having it curtained, get any
effect of light desired, from one of a very
soft, delicate nature to one of extreme
snap and contrast. This would not be

508

ARTISTIC LIGHTING

possible if the light was a small one, for
it would only give what its size was
capable of giving, unless we used the
head-screen or the reflector as mentioned
above.

For this reason, I say, it does not
matter whether the light is a perpen-
dicular, single slant, or a double slant
light. The effect of the lightings made
under them should be the same, and will
be the same if the operator knows what
it takes to make up a good piece of work.
The key to the whole situation rests in
the direction of the light. When the
right direction of light has been secured
the effect will be the same, it matters
not under what style light it was made.
Again, there is but one direction of light
that will look the same from all sides or
points of view, and that is a direction
that is neutral, so to speak. In other
words, one that is neither from the top
nor the side, but a point half-way
between the two extreme points.

I call the reader's attention to the
drawing, which shows the positions of
the camera and the posing of the sub-
ject. It will be noticed that I have

made a circle with the camera around
the subject, using the subject as a pivot.
After the lighting was obtained from the
position of the camera marked No. 1

there was no change made in the posing
of the subject. The only change made
was the moving of the camera from one
point to another. In my last article I
told of making the lighting from the light
side of the subject, and in making it the
camera was in all cases, except the front
view of the face, nearer the light than
the subject. But in this diagram, and
in making these views of the face, the
camera will be placed on the other side
of the subject, and consequently farther
away from the light than the subject.

I will give the directions for making
one position on the light side of the face
so that it will assist the reader in under-
standing the shadow side. The camera
was placed at No. 1 and the subject
posed at a point in the room where the
light would fall on it from the right
direction. Then the face, if turned
toward the camera until the ear on the
shadow side of the face just fails to show,
will give a three-quarter view. From
this time on it will not be necessary to
change the subject at all. Move the
camera to No. 2, and a full front view
of the face will be the result, and the
light will be as good as in the former
position. Now, if the camera is moved
to No. 3 we will have what operators
have called the Rembrandt lighting and
a three-quarter view of the face in that
lighting. If we move to No. 4 we have a
view of the face that will allow the nose
to just pass the outline of the cheek,
and it is a good view of the face some-
times, especially where the subject has
rather hollow cheeks and high cheek-
bones. The nose breaking across this
outline will very much improve the
effect. No. 5 shows a full Rembrandt
profile, the subject not being moved in
any way. In a subsequent article I will
show half-tone illustrations and further
demonstrate my views on artistic
lighting.

By FREDERICK POHLE

IUFFALO. N. Y.

THE WORK OF FREDERICK POHLE

By SIDNEY ALLAN

"npHE chances for a photographer
in Buffalo must be exceptionally
good," I heard some member of
the brotherhood remark as he passed
through the Queen City. "It is one of
the largest and richest towns and there
seem to be less galleries than in most
places." Yes, the percentage is small,
about thirty-four — one photographer to
every thirteen to fourteen thousand
inhabitants— still there does not seem to
good! If this referred to the work alone
be room for many more. Exceptionally
it might contain the necessary leaven of
truth, but from all I hear the path of the
practitioner is not exactly paved with
gold ore. It is apparently very difficult
to raise the price.

The trouble is that Buffalo is a very
peculiar town artistically. The art situ-
ation— well, there is really none. It is
largely represented by the Albright Art
Gallery, which is excellently conducted,
and which, like a regular showhouse,
holds several attractive exhibitions every

season. But there is little local patron-
age; there is not even a single art store.
Much smaller towns — for instance, Mil-
waukee— have two or three art shops
with real paintings and regular art
exhibitions, while Buffalo has only a few
art-print and framing stores. So the
art buying must be done somewhere
else. And as it is in art it is in photog-
raphy. Buffalo has no "one leading
photographer, " like Strauss of St. Louis,
or Stein of Milwaukee. Buffalo society
is apt to patronize the photographers
of other towns, not fully realizing that
they could get just as good work at home.
It is merely a whim with them. Perhaps
nobody has asserted himself sufficiently
to correct this erroneous opinion.

The standard of work is unusually
high. Each man has more or less his
specialty. Beach makes the society
appeal. Sipprell, with his autochromes
and pictorial prints, tries to satisfy
the more fastidious. Peck and Burnell
are home portraitists. Nussbaumer

(509)

510

THE WORK OF FREDERICK POHLE

scores heavily with lodges and fraterni-
ties. Hubert Brothers reign supreme
in the Grand Avenue district, even as
Zabawski in the Polish quarter. Besides
there are Bliss, Titus, Kramer, Mc-
George, all skilled and serious craftsmen,
making the best of conditions.

But there is one gallery that caters
to all classes of society. It is Frederick
Pohle's establishment, one of the best-
known galleries in town.

Pohle has been longer in business than
most of the boys. He has grown up
with the town and has always known
the art of keeping his name before the
public. His gallery is spacious and
clients can wait there for a sitting with-
out being inconvenienced, and it is so
centrally located, just a door of Main
Street, that it appeals equally to busi-
ness men, pleasure-seekers, and ladies on
their shopping expeditions. It seems as
if some time or other everybody must
stray to his place.

Pohle is truly popular, and the excel-
lence of his work recommends him to all
newcomers. ' ' My policy, ' ' as he puts it,
"is that everybody must leave the place
satisfied. If they don't like the proofs
not a word more is said about them.
Into the paper-basket they go, and
I am ready to do the work over again."

Anybody who wants a faithful like-
ness, a good picture, a resemblance that
is a pleasure to give away to friends,
will do well to go to Pohle's. So many
photographers nowadays indulge in
special styles and unusual effects, and
forget that, after all, the most desired
article is a portrait that has the real
familiar resemblance to the original.
With a stream of customers continually
coming and going — no matter how he
gets them, as long as he gets them in a
legitimate way — -one cannot afford to
make portraits that will be condemned
and rejected because they fail to be
recognized as fac similes of the sitter.
Pohle has made a very careful study of
the necessary means to be employed in
obtaining the faithful likeness. He be-
lieves in the play of features, expression
as the vivifying element, and favors
speedy exposures that record an ani-
mated countenance.

A successful portrait, of course, deals

with many other qualities than the mere
face. Nobody realizes more keenly than
Pohle that a pictorial effect or a har-
monious scheme of lighting are indis-
pensable, but he never subordinates a
characteristic likeness to artistic con-
ceptions, for, after all, the majority of
patrons, no matter from what ranks of
society they are recruited, prefer a
normal representation of themselves and
their friends to any ideal portraits how-
ever beautiful. Pohle has always been
a student of art and he is a all-round
technician. He is at home in every
branch of the profession, and takes a
church interior with same ease and skill
as an outdoor group. And in the same
way he knows how to handle texture and
color of dress and drapery, as seen in
some of the accompanying illustrations.
Some of the drapery effects show
masterly handling. As much as he
believes in a natural expression of the
face, he does not encourage instantane-
ousness of pose but endeavors to control
the arrangement. The character of
light, the height from the floor, the
figure composition, the fall of the gar-
ments, the pose of the hands, are all
deliberately considered. No extreme
artistic aims, but a sufficient amount to
bring out the best that is in each sitter
pictorially.

Rarely did I find a photographer more
passionately, more enthusiastically in
love with his vocation; rarely does any-
one spare himself less. He never falls
into slipshod methods, but always ad-
vances the argument, "As long as I make
a picture, why not make a good one."
He is not satisfied with representing his
sitters with their ordinary characteristic
traits and in their usual attitudes, but
strives to bring out their peculiarities
and hidden beauty, seeking dominating
lines, broad effects, splendid effects of
contrast, clear outlines, well-balanced
poses, and his prolonged observations,
his familiar acquaintance with the man-
ners, characters and ways of customers
enable him to amalgamate the natural
and the ideal to a considerable degree.

Looking over his prints, we are aston-
ished at the even average of excellence.
Why, there are hardly any errors of
composition. Every picture has its

BY FREDERICK POHLE

BUFFALO. N. Y.

BY FREDERICK POHLE

BUFFALO. N. Y.

BY FREDERICK POHLE
BUFFALO N Y.

514 A FEW IMPORTANT POINTS IN COMMERCIAL PHOTOGRAPHY

merits. They look as if they were as
perfect of its kind as circumstances
permitted to make them. They all have
a pleasing and finished look about them.
You may admire the composition so
cleverly handled in one print, the rela-
tion of tones in another, the decorative
feeling in the drapery or the truthfulness
of a pose, the lovely female heads and
the convincing interpretation of char-
acter in the portraits. A gallery of

reliable, sympathetic and intelligent
portrayals, made apparently with pro-
digious facility, for it can hardly be said
that the illustrations were specially
selected. There were hundreds more and
all of the same sincere and exceptional
quality. And what is to be admired
most is that all these qualities are con-
tributary to the chief aim of the pho-
tographer, to the securing of a faithful
likeness.

A FEW IMPORTANT POINTS IN COMMERCIAL

PHOTOGRAPHY

By W. J. SMITH

THE increasing demand for photo-
graphic illustrations to assist in
the buying or selling of commercial
articles is very apparent, and as the
demand increases so must there be a
corresponding demand for specially
trained workers. The training neces-
sary to become a really successful
operator should embody an organized
course of study, so that all working con-
ditions can be as far as possible "stan-
dardized." Standardization is a most
important consideration in modern work
and is the outcome of study coupled
with observation, commonsense and
adaptability. The principles that govern
the work of a commercial photographer
are a mixture of science, art and business
capacity.

Should the worker himself have to
obtain his customers, he must realize
the fact that when dealing with a man of
business time represents money, there-
fore be brief, but well to the point,
exercise tact (not bounce) and try and
adapt yourself to the mannerism of each
customer. The commercial client usu-
ally requires quite a different class of
reproduction from he artistic one: the
former, like the general public, appreci-
ates bright, telling results that show the
selling qualities of his goods; the artistic
client appreciating photographs that
are full of gradation, softness, and show

all artistic value the original possesses.
"Advertisement is the life of commercial-
ism," therefore the advertising side of
the department must receive careful
consideration, and tastefully mounted
specimens of the different qualities of
work should be displayed so as to com-
mand attention. The artistic principles
are applied when arranging the articles
to be photographed. See that the point
of view and lighting are adjusted so as
to display them to the best advantage.
The combined artistic and scientific
principles must be used when selecting
and determining the focus of lens to be
employed for a given subject. Undoubt-
edly the best and most pleasing photo-
graphs are those taken with long-focus
lenses, 12 in. on a J-plate, 16 in. to 18 in.
on a 1/1-plate; this especially applies
when reproducing objects of a round
nature and where there is considerable
modelling. Short-focus lenses flatten
out modelling and roundness, and elon-
gate objects near the edge of the plate;
but sometimes it is necessary to use
them, therefore the point of view must be
arranged so as to minimize as much as
possible any distortion they appear to
give.

Long-focus lenses of the anastigmat
type are expensive, but the greater
speed obtained when exposing and the
higher quality negatives soon repay the

BY FREDERICK POHLE

BUFFALO. N. Y.

516 A FEW IMPORTANT POINTS IN COMMERCIAL PHOTOGRAPHY

original outlay. Many photographers
who possess a good modern lens still
adhere to the old-fashioned method of
using small stops (//4.5 or 6.4) ; the lens,
however, would work quite as well and
even better at //1 6 or //22, with an
economy of exposure. In the pre-
anastigmat days it was necessary to
stop down to eliminate the defects from
which the lenses suffered; this ancient
habit still attaches itself to some present-
day photographers, although they
possess a modern lens of first-class
quality. Stop down to secure depth of
focus, this often being obtained at//16
with an anastigmat working at f/6.
Cinematograph pictures are good
examples of what excellent work can be
produced by using large stops.

In object work photography, such as
the reproduction of articles for catalogue
illustrations, the lighting must be care-
fully adjusted to show the quality or
texture of the original. The difference
between an ordinary piece of calico and
silk is the texture, and this must be indi-
cated in the reproduction. The differ-
ence between an ordinary picture and
one by a gifted artist is the quality the
genius of the artist has enabled him to
impart to the picture, and the successful
commercial photographer will be the one
who recognizes what essential points his
photographs must show. The various
varieties of dry plates and printing
papers should be studied in order that
they may be intelligently selected for
the work in hand; this latter remark
especially applies to color-sensitive plates
and niters. The ignorance displayed
in this direction is very noticeable, also
in the selection of the developer and in
the subsequent development. Stand-
ardize all negatives so that they are the
correct contrast for the printing processes
employed and the right density for the
light source used. This is a very impor-
tant point to remember, especially when
a considerable number of prints are
required. The pyro developer is un-
doubtedly the most economical and best
developer for the general run of com-
mercial work, as the deposit of silver
given is very light-resisting. The nega-

tives must not, however, be over-
developed, but kept on the thin side,
which will enable prints to be obtained
very quickly. For black-and-white
copying and where extreme density and
contrast are required, hydrokinone is to
be preferred, but this developer is very
sensitive to changes of temperature and
will almost refuse to work below 57° F.
This latter fact should be remembered
when metol-hydroquinone is employed
for bromide paper or plate development,
as metol will work at a much lower
temperature than hydroquinone, the
result being negatives of no printing
value or prints of a weak gray color.
Glycin is a developer that deserves more
attention, being particularly useful when
making color negatives, provided the
exposures have been full and the tem-
perature of working room above 60° F.
The temperature of the dark-room is a
very important point, and if develop-
ment is to be standardized must be about
60° F.

A thermometer is as necessary to con-
sult before development as an acti-
nometer before exposure. Regard the
latitude of the plate as divided into three
parts — short exposure, normal exposure
and full exposure. For example, short
exposure on flat subjects, or when work-
ing against a soft light, and forced
development will frequently produce a
bright negative. Normal exposure and
varying times of development will flatten
or brighten contrast. Full exposure
gives different densities according to the
time of development. Short develop-
ment will give soft negatives from con-
trasty subjects. Subjects that are likely
to show halation will come under the
third division, but development must be
curtailed.

All these items have to be considered
before it is possible to standardize them,
and they can only be intelligently worked
after careful study and application.
Remember, the more knowledge acquired
by systematic study, coupled with the
power to deduce from that knowledge,
and skilfully applied in practice, con-
stitutes the stock-in trade of a clever
workman. — Penrose Pictorial Annual.

BY FREDERICK POHLE

BUFFALO, N Y.

A FEW REMARKS ON SHOW-CASES

THE show-case is, no doubt, the
safest and most appropriate vehicle
of advertising a photographic
studio. It attracts the attention of
every passer-by, and, if by chance your
own portrait should be in a week or so,
you will be astonished how many people,
even perfect strangers that you meet
casually, will tell you that they have seen
it and recognized you.

The argument that too many show-
cases in one block are valueless, that one
interferes with the other, and in that
way fails to produce the desired impres-
sion, is paradoxical. A show-case, no
matter how many others may be in
its immediate vicinity, is an isolated
object, and if attractively arranged will
draw its share of attention. It is a
legitimate competition, and the photog-
rapher who is most skilful in his display
will win out.

Photographers ordinarily do not be-
stow enough care and attention upon
their show-cases. Many of them look
slipshod, neglected, and even ridiculous.
There are a few fundamental rules to go
by, and it is the object of this article
to discuss them. There are four propo-
sitions to consider: (1) the construction
of the case, notably its dimensions; (2)
the placing of the same; (3) the interior
arrangement; and (4) the display of the
prints.

The construction of the case is natu-
rally influenced by the available space.
Lack of space has produced a decrease
in size. Cases 80 x 100 inches are rarely
seen in these days of exorbitant rents,
and they really represent little more than
a waste of space. They do not concen-
trate the attention. Fig. 1 is supposed
to be 80 inches high. The distance
from the street level to the lower edge is
about 28 inches — the height of an ordi-
nary table. The ordinary eye level is
about 60 to 62 inches, and the eyes of the
average beholder would strike the case
at the line indicated by the arrow, about
32 inches above the lower edge. The
normal vision would be attracted only
by the lower row of prints. (The oblong
at the bottom is supposed to contain the

(518)

name of the firm.) To appreciate the
third row, the beholder had to step back
and crane his neck; the upper rows
would produce no effect at all; and if
the beholder should be shortsighted,
even the lowest row would necessitate
close scrutiny.

The moral of this argument is, that
cases in this order are bad advertising
mediums. If the prints cannot be seen,
what is the use of exhibiting them?

Fig. 2 shows a better arrangement.
One large print would attract immediate
attention. Another way would be to
hang four medium-sized prints as shown
in Fig. 3. It is at least a more pleasant
arrangement, even if the upper two
hang too high.

An ideal arrangement is that of Fig.
4. This case is supposed to be an oblong
of the dimensions 10 x 7. The beholder
can see at one glance all the various
exhibits. They make an even, agreeable
impression, and do not look topheavy,
as the display in Fig. 1.

A wooden case with a plain iron
frame is most recommendable. Iron
can easily be colored by ordinary paint.
This will protect the ironwork from get-
ting rusty. They will wear and look well.
Black, gray, and brown are probably the
most suitable colors; but this depends
much on the surroundings.

The illustration given represents such
a case. It shows good taste, and as it
is one of the most effective ways to
make the gallery owner known to the
general public, he should be very
anxious to create such an impression.
It reflects in a way the quality of his
work.

The framework of show-cases should
never be of polished brass or loudly
colored, as it is not the exterior of the
case, but its contents, that should attract
immediate attention. Bronze, on the
other hand, is a dignified material, and
will show up to good advantage. Un-
necessary ornaments resembling a frame,
as in Fig. 5, should be avoided. A show-
case is a frame in itself, and any elab-
orate effect will detract from the prints.

Figs. 6 and 7 show the display of a

i ■

By FREDERICK POHLE

BUFFALO. N. Y.

520

A FEW REMARKS ON SHOW-CASES

single frame in a small case. The letter
G indicates the position of the monogram
or name of the firm.

In these days of electricity, many
photographers make a display of their
wares at night. The simplest method
of illumination will always be the best.
The source of light should not be seen,
or arranged in a simple, artistic manner

But buckram in light and delicate tones
seems to be the most plausible and least
expensive of all backgrounds.

The background, of course, must form
a harmony with the color of the prints.
With dark prints the background should
be dark, but a trifle lighter. With light
prints the background should always be
a trifle darker.

DDDD

DDDQ

Line
of -*

Visum,

DDDD
DDDD

I I

—>■

bicte-
UMlk

1 Fig- 1.

Fig. 2.

DD
DD

^^"^ Finna ^^^^

— >

DDDD
DDDD

Fig. 4.

Fig. 6.

Fig. 5.

DDDD
D D

o _o

Fig. 7.

Fig. 8.

by an electric light bulb of agreeable
shape in handsome, unobtrusive fixtures.
The empty interior must be in perfect
harmony with the exterior. A white
case cannot be furnished with pink or
green plush. Velvet and plush are not
in good taste. Materials reproducing
gobelin patterns may look attractive.

The arrangement of the prints should
be simple. A straight arrangement, as
in Fig. 8, is better than a circular one.
It is not absolutely necessary that the
prints be of uniform size, but a mixture
of framed and unframed prints, minia-
tures, etc., should be avoided. The
color of the different prints should not

THE CLOTHES IN THE PICTURE

521

differ, as it would spoil the tonality of
the general effect.

These are some of the rules that
every photographer should follow. It is
necessary that the case should make a

clear and cheerful appearance, and that
the exhibits should be changed frequently — •
every week, or even twice a week (in
smaller towns) — to keep up the interest
of the regular passer-by.

THE CLOTHES IN THE PICTURE

By F. STANARD

" "I \0 women come to you to have
1 their dresses photographed?" I
smiled when this innocent ques-
tion was put to me, for I consider a new
dress one of the best friends of the
photographer.

Those of my customers to whom an
extra dollar is an object, and who come
for $3 work, invariably come in their
best dresses. Those who order a dozen
prints, supported on the latest thing
in mounts, invariably choose the time
when they have just received a new
dress. Yes, the new dress helps the
photographer's receipts.

I am not one of those dyspeptic mor-
tals who wail over imaginary evils in
my profession. Occasionally I make
suggestions as to dress, especially when
appointments are being arranged for
children. I keep a number of specimen
prints teaching by contrast, and I point
my moral by indirect suggestion rather
than direct fire. (Tact is a very neces-
sary factor to the photographer.) One
selection shows children dressed in
aggressive " Sunday best" contrasted
with children in some soft, light-tinted,

Boiled water when cold is nearly as
good as distilled water.

Weak sulphurous acid will remove
stains caused by amidol developers.

Sulphite of soda in the developer
preserves it and prevents the film from
staining.

An even temperature of about 70
degrees is most suitable for chemicals
and dark-rooms.

All chemicals will act with consider-
ably more vigor when warm than when
cold.

simply made garment. Another con-
trasts the unity of a soft gown and little
jewelry with a stiff waist and over-
abundance of decoration. But I only
make these suggestions where I think
they will be appreciated. It is no good
talking of lines or composition to the
girl who wants a photograph of the
miniature in her brooch and of her
engagement ring.

After all, what we are after in photog-
raphy are facial likeness and a sug-
gestion of character. And the former
is the more important from a business
point of view. Sitters usually come in
the clothes they like, and now that we
are so much emancipated from the old
difficulties of incorrect renderings of
color values there is no need to more
than suggest any preferable style. It is
the photographer's province to make
the best portrayal of what is put before
him and if he does this to the best of
his experience and ability he will find
that the question of what is the best
dress for artistic effect is one having
only an academic interest.

Gelatino-chloride prints always dry
a shade darker in tone than they appear
when wet.

Hypo can be quickly dissolved by
tying the desired quantity in a piece of
muslin and suspending it half-way down
in a jug of water.

Ruby glass chimneys are said to be
unsafe when they have been in use a
considerable time.

Amidol does not keep well in solution,
eikonogen only a short time, hydro-
quinone and metol keep well.

IN THE RIGHT DIRECTION

TO those who are keeping a close
watch upon developments along
photographic lines there is notice-
able a strong undercurrent in the direc-
tion of specialization that is important
to all concerned.

This feature is perhaps most promi-
nently visible in the many studios that
have within the past few years extended
their lines outside the studio and have
made direct bids for portraiture in the
homes of their patrons. Some may, as
they do, characterize this as a fad and
laugh it to scorn on the ground that it
has no interest for them. If such there
be, they are destined, we believe, to a
rude awakening within the next few
years, for the indications multiply that
the people of our larger cities and
towns who are possessed of attractive
homes are showing a decided ten-
dency to cultivate the practice of being
photographed in them instead of in
the studio, which is foreign to them
in every way and distasteful in many.
There are many reasons why men and
women of social position have wel-
comed this innovation. They are waited
upon in their homes by the photogra-
pher, rather than being compelled to
wait upon him at his studio. This in
many cases carries the greatest imagin-
able weight. Then, too, they are pic-
tured amid the home surroundings that
are familiar to their associates and
among which they are wholly free from
(522)

constraint. They may be attended by
their own maids or valets and every
condition is favorable to ensuring a
good likeness.

Time was, of course, when the mak-
ing of satisfactory negatives under the
various light conditions that must be
encountered in this work would have
been impossible, but that objection no
longer is an unsurmountable one. With
the improved facilities for rapid work
which have attended the perfection of
lenses and plates, and also by virtue
of artificial light, exposures are today
being made possible which years ago
would have been out of the question.
With these facilities for rapid work a
number of ambitious men — and it may
be said in passing that they are in the
main young men — are making a spe-
cialty of "at home" portraiture. Many
of them are meeting with the most
gratifying success and are finding their
field a profitable one to cultivate. Prices
are made to cover an ample number
of plates and to include all the time
necessary to the extra-arduous work
involved. The pocketbook of the sitter
is, in such cases, usually equal to a
goodly pressure, provided the work is
of the right quality. It is easy under
these conditions to see why the proposi-
tion finds favor with both the sitter
and the photographer.

There is no occasion for those who
confine their work to the studio to fear
that the "at home" man will ever do it
all, but it is an absolute certainty that

EDITOR'S TABLE

523

he is going to do more rather than less
as the years go by.

It must be remembered always that
work of this kind requires the most
proficient knowledge of every step in
the process. There is no familiar light
to give the same results under given
conditions every time. The photog-
rapher must work out each problem for
himself without a chance to experi-
ment. He must be so proficient as to
gauge his conditions subconsciously and
be ready to expose his plate with a
knowledge that it will be developable
into a negative. He must know the
rules of good composition, for he is
dealing with people who are likely to
have artistic taste and training above
the average. He must have a social
training that will enable him to avoid
awkward breaks and that will alone
give him a sense of freedom from con-
straint. When these several points are
considered, it is apparent that work
along these lines is worth good prices.

It is specialization, and the work of
all specialists has a value beyond that
of the ordinary workman.

Photography of this kind can find a
market and command its price. It is
gratifying to note that so many work-
men are turning their attention to it
year by year. All such enterprise raises
photography in the popular esteem and
gives to it a dignity beyond that usually
considered its due.

OUR GREETING AND MESSAGE

THERE is a minor in the carol this
Christmas season, and it is not
easy to think of "Peace on Earth,
goodwill toward men," with the accus-
tomed inspirational joy, so that to each
one of us Christmas Day, 1917, should
be a time rather of re-dedication and
re-consecration to the cause of universal
freedom and humanity than selfish
indulgence. And every man of us
should realize more fully what President
AVilson so strongly expressed when he
said : ' ' The day has come when America
is privileged to spend her blood and her
might for the principles that gave her
birth and happiness and the peace which
she has treasured."

We must be prepared, therefore, each
of us, to make infinite sacrifices if need
be to secure this glorious result. Then
in our own various individual pursuits —
many of us taxed to the utmost — we
must each be more resourceful. That is
one of the great lessons we must learn
in these trying times, and as some one
has so well said: "The great highroad
of human welfare lies along the old
highway of steadfast well-doing; and
they who are the most persistent and
work in the truest spirit will invariably
be the most successful; success travels
on the heels of every right effort."

The year 1917, in spite of war con-
ditions, rising prices and scarcity of
help, has been on the whole an unusually
prosperous one for the American pho-
tographer.

Speaking broadly, for the most part
the photographer has been able to
enjoy his work day by day; has found
his patrons ready to appreciate his best
efforts and pay for them; has added to
his bank balance, and has bettered his
standing in his community. Let him
be thankful for that!

In the work of the Journal during
1917 it has been our continual endeavor
to help our readers to take advantage of
their wonderful opportunities. To the
best of our knowledge this Journal has
given its subscribers more useful infor-
mation and more practical instruction
than any other journal published for
photographers. A glance over the con-
tents and index published with this
number will show the variety of the
subjects dealt with, their direct relation
to the daily work of the photographer,
and their value to him as a business man.
The labor and expense involved in the
work has taxed our resources severely.
We have liberally shared our profits
with our readers. Now, that the year's
work is ended, we make bold to ask our
readers to sum up the results of their
investment with us and give us a prompt
verdict.

If the Journal has brought you
pleasure and profit, see that the renewal
of your subscription is sent promptly.
If the Journal has deserved your good-
will and support, give us the good- will
in the shape of a new subscription. A

524

EDITOR'S TABLE

very little effort will accomplish this
good work and strengthen our hands
and yours for 1918.

CHARGE BY THE PRINT

IT is true, of course, that many pho-
tographers can and do charge "by
the print," but they are still the
exception to the "price per dozen" rule
which has prevailed in professional
photography from the beginning.

Professional photographers with any
ambition at all are anxious to have
themselves and their profession taken
more seriously. One method that will
go a long way toward gaining addi-
tional respect is to come out of the
huckster class and talk and quote
prints individually. A dozen or two
of this size and a dozen of that size
savors somewhat of the wholesale. The
individual print should be the talking-
point. Talk about prints by the dozen
and your client conjures up a vision of
an assistant turning a crank and pro-
ducing prints like a machine turning
out visiting cards while you wait.

It is quite true that this is exactly
what does take place in postcard print-
ing. For the class of people that want
postcard portraits that is about the
way they want them. They buy them
by the dozen, stick a stamp on them
and consign them to the tender mercies
of the post-office.

But with the vast army of well-to-
do, intelligent people a more artistic

method will appeal more to their sense
of the fitness of things.

A satisfactory and pleasing picture is
what you strive to produce. It is not
made more satisfactory by being repro-
duced six, twelve, or a hundred times.
Unless you satisfy and please your
sitter you are not going to be satisfied
yourself. When the satisfactory print
is produced it is valued at whatever
your price may be. It is then up to
your customer to decide how much
they are prepared to spend on dupli-
cates for their friends and relatives.
The price sounds very much less for-
midable by the single print than by
the dozen, and human nature is such
that the individual who would balk at
paying thirty-five dollars or more for a
dozen photographs at one order would
spend considerably more if left to order
one or two at five or ten dollars per
print, with gradation scale for others.

To take care of those particularly
mean people, and fortunately they are
few, who would not order beyond the
initial print a suggestion of a founda-
tion order of three prints from a nega-
tive could be acted upon. This rule
could be urged at the discretion of the
receptionist.

For special purposes, where a large
number of prints are required, a special
price would have to be made on the
quantity basis; but many photographers
who are selling photographs by the dozen
could sell by the print and increase their
bank accounts and their standing in the
community.

&=E

PRACTICAL PAPERS ON STUDIO WORK AND METHODS

Reception-room Specimens

Professional photographers may be divided
into two classes — those who, studying closely the
reception-room, know the business value of good
specimens, and those who, giving the matter
scant attention, allow things to drift haphazard.
It is really surprising what a number of men there
are who will use every available means of bringing
possible customers to their studios, and who at
the same time neglect to arrange that their samples
shall produce a good business impression, and
bring in the best possible order from every visitor.

The high-class studio, perhaps, errs least in this
respect, probably because a good receptionist is
regarded as an essential, and the business aspect
of the specimen is naturally one of her first cases.
The cheap postcard studio, on the other hand,
has little or no need for specimens; a window
display is usually sufficient. But among the host
of middle-class photographers it is the rule rather
than the exception to find a lack of system in
dealing with possible customers. There may be
some excuse for the harassed possessor of a small
business, whose time is taken up principally with
workroom affairs, and who is inclined to shirk the
periodic task of overhauling and renewing his
specimens; but surely it needs no argument to
drive home the absolute necessity for dealing with
customers in a business way — a way which shows
that the photographer is not merely an artist
but also that he is alive to present-day require-
ments, and can understand and produce exactly
what is wanted.

Some of the methods adopted for maintaining
and arranging the supply of specimens are so
haphazard that they scarcely deserve the name.
Frequently on entering the premises one finds
piles of photographs on tables, etc., sometimes
carefully stacked, often lying in confusion. A
closer inspection shows a series of mounts exhibit-
ing a varying degree of dirt and finger markings,
and the photographs themselves, although per-
haps individually good, are usually a mixture of
up-to-date pictures together with the fashions of
two and three years ago; ladies in winter furs

showing during the summer, and so on. Com-
ment on this state of things is needless.

Sometimes one finds that, with a view to keep-
ing the prints clean, specimens are kept in drawers,
and brought out by the handful when required.
But the handling is in no way reduced, for usually
it is necessary to hunt through grosses of babies if
one wants a three-quarter figure of a man, and the
mounts keep clean but little longer. The method
of renewing is oftentimes on the same level. In
some businesses chance overprints, added at
intervals, form the sole source of supply. In
others, especially where the photographer has
some pride in his work, an extra print is carefully
made from anything especially "nice," and
added to the collection. And generally, when new
designs in mounts are bought, prints are chosen
for them from any work which happens to be in
hand, and the new mounts, being the only really
clean ones in the lot, naturally sell first, while the
older stock hangs fire.

What other tradesman would think of keeping
his stock in such a condition? No man would
go twice to a shop where, when he asked for
neckties, the assistant hunted through drawers
filled with socks or braces before finding a few
soiled examples of what was asked for. Why
should the photographer alone remain years
behind his competitors in other trades? The
appearance of neglect, and the waste of the custo-
mer's time while fumbling with pictures of the
kind that are not wanted, cannot fail to add to that
distaste for a visit to the photographer which is so
often experienced, particularly among men.

Every tradesman arranges his stock methodic-
ally, so that he can show immediately the class of
goods required. Why are photographers slow to do
likewise? There is a difference, of course, between
the retailer and the man who makes pictures to
order, but in the mind of the customer this differ-
ence is practically non-existent. What arrange-
ment is advisable is, of course, a matter which
must depend on the peculiarities of each individual
business, but in any case there should be included
some system by which worked-out specimens can
be periodically removed and replaced by new.

(525)

526

THE STUDIO

Some, for example, may find the specimen show-
cases sold by the various supply houses to fit their
requirements. Certainly they keep the pictures
free from dust, are always ready to hand, and,
having the prints stuck down to leaves or boards,
they absolutely prevent disarrangement and
unnecessary handling. On the other hand, such
cases have a decidedly limited capacity, and the
specimens, being to some extent a fixture, are apt
to be left in much too long. Sometimes the
dealer's catalogue claims that such a show-case
proves an attraction, in that clients will amuse
themselves while waiting by looking through the
specimens. This is no doubt true, but while
amusing themselves in this manner they fre-
quently find a cheaper class of photograph than
they would otherwise have ordered — something
which a receptionist would never have brought
out as long as higher-priced pictures could have
been sold.

To be thoroughly effective it is necessary to
ensure something more than a show of clean and
up-to-date work. When a fond mother wants
pictures of her baby she is not at all interested
in being shown full-length portraits of ladies, or
even of ten-year-old children. She cannot judge
how her baby will look in that process and on that
mount nearly so well as she would by seeing a
baby's picture similarly finished. This applies
even more strongly when dealing with men.
Usually a man feels somewhat out of place in a
photographer's, and it will make him feel very
much more comfortable if he is shown portraits
of men, and nothing else.

This menas, of course, that every possible style
must be repeated for each class of sitter, necessi-
tating an increased number of specimens. The
quantity required will depend on the variety of
styles to be shown, but if care is taken to include
only what is really wanted it will probably be
found that the new range is no more numerous
than the old. In any case it is "penny wisdom"
to stint specimens; the cost of preparing a
suitable and well-considered range can be saved
in a week by the enhanced orders which a tactful
receptionist can secure with their aid.

There is still another point for consideration.
There is always a desire — latent or otherwise —
on the part of prospective clients to see a specimen
portrait of someone in as nearly as possible the
position they themselves desire. Let it not be
understood that there should be any suggestion
to the sitter of choosing a position from the
specimens; such a course must necessarily
result in a mechanical and characterless portrait.
But if a lady wishes a three-quarter, or full figure,
sitting, she will always prefer to see specimens
showing such positions rather than standing
figures or heads. Now it is obviously impossible
to show every style in every position of every
class of sitter. Such a host of specimens would be
utterly unmanageable as well as unnecessary. In
practice all that is required is to ensure that in
each class there shall be a due proportion of
heads, standing and sitting figures, half-lengths,
etc.; and it becomes necessary to evolve some
means of storing them systematically and ready
to hand.

How best to do this depends, as said before,
on the needs of each particular business, and in

broadly outlining the method I have myself
adopted I do not by any means suggest that it is
the best method for everyone. It is merely the
best that I have yet discovered, and as it possesses
the quality of unlimited variation and extension
for different requirements, a description of it may
be of interest.

In the first place, those of the specimens in
stock that are really useful are selected and divided
broadly into the following classes: Men, single
figures of ladies, babies and young children, child
groups, groups of two and three, family groups,
weddings, etc. A stock-sheet is then drawn up,
somewhat in the following manner:

Single Figures

Men.

Ladies.

Children.

Process and

name of mount

style.

to
S

c
a

a
K

to
c

,-g

-2

C
CO

—

Sub-headings may, of course, be omitted, but their use as
above entails very little extra work, and ensures a fair propor-
tion of different positions being included in each set.

Reception Room Specimens

The result of a stock-taking of specimens in
hand will show immediately the weak places, and
new specimens should be made from recent
negatives to make up the deficiency. By this
menas a good representative set will be provided,
but the matter should by no means be allowed to
rest here. Renewals must be arranged for, and
at stated periods — say, four times a year — there
should be a fresh stocktaking, or at least an over-
hauling to remove any specimens that may have
become undesirable. The stock-sheet entails
but little work, and is much the best, as it shows
at a glance just which styles are lacking, and
prevents too many examples of the same style
being included.

Next comes the manner of storing. If sufficient
large drawers are available they may well be used,
the specimens for each class of sitter having its
own drawer. Such receptacles, however, are
usually shallow, and the mounts have conse-
quently to be laid flat on each other, causing
much unnecessary rubbing. Also experience
teaches us that whatever is wanted from a
drawer is always at the bottom, and it is prac-
tically certain at any rate that the whole lot will
be lifted out in nine cases out of ten, thus giving
the customer the opportunity of seeing any
inferior styles which the receptionist might have
wished to keep back. I find that a much better
plan is to make use of the ordinary office "transfer
cases." These can be obtained in various dimen-
sions, and should be chosen sufficiently large to
take all ordinary specimens. Those which I am

THE STUDIO

527

using are strongly made of pasteboard, with
wooden ends, and being neatly covered with dark
green leatherette are not at all obtrusive in
appearance. Their shape permits the mounts to
stand on edge, so that they are subjected to a
minimum of rubbing and rough handling, and the
hinged side of the case enables any particular
style to be selected and produced immediately.

Where the work varies much in price — as with
bromides and plats., for example — it may be
found advisable to employ two sets of cases. By
this means the mixing of high and ' low-priced
work can be entirely avoided, as well as much
time saved in showing specimens.

Since I have adopted this methodical plan I
have fully satisfied myself as to its advantages.
Undoubtedly much valuable time is saved in the
reception-room and the business of dealing with
probable customers is much simplified. Better
still, it produces a good business impression on
inquirers, who appreciate being shown immedi-
ately clean and attractive pictures of the kind they
wish to see. And last (but probably most
important) of all, it give a tactful receptionist the
means of securing enhanced orders by enabling
her always to produce just the right thing at just
the right moment. — Geo. F. Greenfield, in
British Journal of Photography.

Help

For the holiday trade it will probably be im-
possible to get extra efficient help in the studio,
and every photographer should begin to consider
ways and means of taking care of his budiness on
the "one-man" principle. Many young men have
joined the colors, and quite a number of skilled
photographers have joined the various organiza-
tions where photography is an essential part of
the service. The demands of the government are
growing greater, and efforts are being made to
enlist the services of more men. All of this
presages a shortage of skilled help so long as the
war lasts.

However, there is a very promising phase of
the situation, and that is the fact that the govern-
ment is training a large number of young men who
have either had but a superficial knowledge of the
science of photography or none at all. They are
going to need expert workmen, and will be com-
pelled to create a large number of them, and while
most of them will be trained along those lines that
will fit the requirements of war work, the educa-
tion will fit them for adapting their knowledge and
experience to regular commercial lines after the
war is over. Therefore, it would appear that there
will be available a large quantity of very capable
and active help when these men are again turned
back to civilian life and again take up their work
of earning a livelihood.

In order to accomplish the work of the studio
with the limited amount of help available, it will
be necessary to look well to the equipment of the
studio, and to install such time and labor-saving
devices as will permit the usual force to take care
of the trade. A washing machine will help re-
place an hour or two of time, and a printing
machine will enable one man to do the printing of
two. Developing and plate-fixing baths and wash-
ers will save time and help, and should be installed

while there is yet time. Retouching is the greatest
time consumer in the business, and we regret that
none of the devices for speeding up this branch
of the work have ever proved perfectly satis-
factory. Where it has, in the past, been cus-
tomary to employ the services of a piece-worker,
arrangements should be made in advance so that
in case such services are not obtainable at the
crucial time, work can still be turned out without
crippling the business.

Thought should be given to the possibility of
all manner of shortages, not only in the work-room
but in the material consumed. The manufacturers
are short of help as well as the photographers, and
while they are busy training new men, there are
other factors that bid fair to interfere with the
smooth and prompt delivery of necessary ma-
terials. So far as these can be foreseen and
avoided, they will be, but certain delays will be
unavoidable. Lens manufacturers have been com-
pelled by the government to put a large part of
their help on the manufacture of instruments and
materials needed by the government, and the army
will have first pick and choice. This, in itself, will
interfere with the delivery of certain materials to
the commercial photographers, but the manufac-
turers simply state that they are compelled to
obey orders from Washington, and the trade must
accept the situation as it is. We must all be pre-
pared to adapt ourselves to what we can get, not
to what we would like to have, and proper consid-
eration of these possibilities will be invaluable if
that thought enables the photographer to get out
his work promptly and properly and meet the
demands of his trade without serious interruption.

These are unusual times, and the unusual
must be expected.

Begin right now to arrange your house in
order, so that in case of an emergency you can
rely on yourself and accomplish the work of two
or three. — Trade News.

Studio Accessories

The professional photographer desirous of
holding his position, keeping in the front ranks,
and making his business a paying concern, must
keep constantly before him the state of his studio
accessories. Portraiture is primarily a matter
of dress, and secondly of furniture. The sitters
do their part in appearing before the camera
adorned with articles of attire adapted to the
momentous occasion, the photographer having
thrust upon him the duty of providing an envi-
ronment which shall not spoil the effect his
clients desire to produce for their own satisfac-
tion and the edification of friends.

The Luxurious Style. It is sometimes urged
against the portraiture of our leading profes-
sionals that the furniture is too profuse, occupy-
ing so large a portion of the stage that the sitter
becomes merely a detail, an afterthought, put
in to supply the human element in a picture,
which might be appropriately labelled : " Interior,
with Figure." To the photographic purist, the
"Art for Art's sake" man, this criticism may
appeal; to the man of business it will be made
in vain, being summarily dismissed as of no
practical worth. With this view we entirely
agree, confessing to some regard for a portrait

528

THE STUDIO

containing a well-arranged selection of accesso-
ries. The photographer must please his clients,
and when these are drawn from the upper classes
— persons living in homes richly furnished —
they require a portrait photography in harmony
with such surroundings, desiring works having
the air of wealth, of luxury, and it is thus in the
interests of trade to meet the demand. In doing
so the photographer violates no principle of
pictorial representation, for in all times the
artist has depicted his sitters in association with
the things of their daily life — all artistic senti-
ment being against a duchess in a dairy or a
dairymaid in a drawing-room.

The Conventional. While it is necessary to
keep the accessories in harmony with the social
position of the sitter, it should not be overlooked
that all classes are susceptible to a certain amount
of flattery in this connection, being more pleased
with a portrait giving them a social standing
above, rather than below, that which they really
occupy. In all cases the photographer, what-
ever may be the class that gives him patronage,
should be in advance, having accessories of a
more expensive and luxurious nature than his
customers are likely to possess. Only in this
way can he apply this very subtle form of flat-
tery. He already flatters the features by retouch-
ing, and this latter device is flattery to the dress.
In working along these conventional lines a
difficulty of a technical character will arise,
needing attention to be overcome. The furni-
ture designed for household decoration is incon-
venient for studio use, not lending itself readily
to photographic methods of composition and
posing. It is too angular, possesses awkward
scrolls, quite preventing the subject being
brought close enough for securing a good effect.
A small knob is sufficient to separate the sitter
from a chair or table, creating a lack of unity
in the composition, making it a picture of two
objects in place of the simple design intended.
Photographers who have experienced this draw-
back are constantly on the watch for any article
combining a good design with utility in studio
practice, in this way renewing their stock.
Attempts have been made in supplying accesso-
ries to suit professional purposes, not with much
success, for, while quite adapted to that end,
they diverge too much from domestic patterns;
in a picture looking what they are — quite photo-
graphic. There is here a want yet to be supplied,
a field is open for the furniture designer who is
able to combine photographic utility with a
pattern neither grotesque nor unusual.

The Plain and Simple. In general, profes-
sional portraiture must be conventional, the
usual thing, the photographer, whatever may be
his own desires or aspirations, being compelled
to meet the demands of the public taste. In
particular localities, however, a class exists who
will patronize work departing entirely from pop-
ular notions. Novelty attracts, and the man
with a strong personalty can impress the public,
lead them to support him, and acquire a taste
for his own individual style. An effective por-
traiture will follow from discarding all accesso-

ries and paying close attention to expression,
lighting, posing, and drapery. Mrs. Cameron
was one of the earliest of these unconventional
types, though since her time others — such as
those who model their work after the paintings
of Rembrandt, Gainsborough, Reynolds, or
Velasquez — have met with success. To abolish
accessories is to give added importance to the
background. It becomes the chief study, requir-
ing every attention to make it harmonious with
the style of the subject. It is for this reason
that the above-mentioned painters have been so
closely copied by the Cameronian type of photog-
rapher. To some tastes this simple portraiture
is very agreeable, and, with the right man, and
a fitting neighborhood, enough patrons are
secured to make it commercially profitable. A
few can even go beyond it, with work that
approaches to the "soul studies" characteristic
of Watts: Mere sketches and suggestions, in
place of the clear, sharp, well-defined photo-
graph. However interesting these productions
may be, in the present state of public taste,
the demand for them must remain strictly lim-
ited, and the majority of professionals could not
insist on supplying such work to their clients
and still retain a profitable connection. From a
financial point of view it would be a distinct
gain if expensive accessories could be abolished,
since the charge on a business which they entail,
not only in purchasing, but in keeping in good
condition, would go with them. This was
impressed on us upon once visiting the studio
of a photographer of this class, a well-known
man, whose work is much appreciated; beyond
a few backgrounds, painted by himself, some
drapery and screens, his accessories were only
of a nominal value. A scanty outfit, calling for
little expenditure, reducing the cost of working
expenses to a minimum, is a consideration when
competition is so keen as nowadays, anything
tending to keep down expenses without reducing
efficiency being money saved. Here the business
man must study his public, for it will economize
his resources if he can rely on clients who are
satisfied with a portraiture of the simple kind.

For Some

At times a man gets a fool notion that he must
be a nasty, cursing, irritating sort of a creature
provided he can pretend to the public that the
reason for his general nastiness is the fearful
load of responsibility he carries all the week; but
when the children crawl under the bed, and the
cat hikes for the back fence, and the dog growls,
and the neighbors call their children into the
house when they see him coming — there's some-
thing wrong, even when the man thinks he is
making sweet music by rattling loose change in
the shape of five-dollar gold pieces in his pocket.

A little gold in one's heart, a little of the milk
of human kindness and consideration in one's
veins, and a little laughter in one's voice are
worth more than a lot of gold in the bank or
pocket. — Thomas Dreier.

United States Official War Photographers

Washington, October 30. — Official war pho-
tographers are now with the United States forces
in France. Wherever American soldiers and sail-
ors go, they will be followed by the faithful mov-
ing picture man, ready at any minute to grind
out, "U. S. troops go over the top," or "Heavy
gunfire on the firing line." Other members of
the photographic division will take "stills," and
yet others attached to the aviation section are
preparing to secure photographs of enemy
trences and fortifications in the face of hostile
fire.

Our photographic division was planned and
built up almost over night. It is only a few weeks
old, but already it is one of the most important
branches of the service. There are no raw
recruits in the division. Every man is there
because he can do some particular thing, and do
it well. When the War Department decided that
the time had come to organize the staff of camera
men and laboratory workers, it did not wait for
casual volunteers. It got in touch with the
Committee on Public Information, and the
committee immediately produced data on the
best available photo-scientists, moving picture
men and still-camera men in the country. Two
months later the photographic division of the
Signal Corps was occupying four rooms of Wash-
ington's priceless office space, and four majors,
a captain, two or three dozen lieutenants and
a number of enlisted men were directing, study-
ing and experimenting in laboratory, office and
training camp. Just exactly how many men
are, or will be, in the division cannot be made
public, as this information would indirectly dis-
close the number of men abroad.

At the beginning of the war unofficial photog-
raphers were allowed on all the war fronts by
the foreign authorities. The belligerents quickly
learned that this was an unwise procedure, for it
resulted in a leakage of valuable military infor-
mation. Today the official photographer has
the field to himself, working as a part of the
military machine. The British government has
three official camera men to take war news pic-
tures for the public. All of our war pictures
will also be official, but our news camera force
will run into the hundreds.

From abroad we secured the idea of releasing

the pictures for the benefit of the war relief
societies. The Russian war news pictures are
in the hands of the Skobeleff committee, an
organization for the relief of Russian wounded
in the hands of the enemy. This committee is
authorized by the Russian government and
headed by a Russian army officer. It sends out
its official photographers on assignments, and
then manufactures and sells the pictures taken,
the proceeds going for the benefit of the relief
work. Our use of the Red Cross in this matter
will be limited to the distribution of the pic-
tures to picture companies through the nation.
A special Red Cross committee will distribute
the official pictures that are turned over to it
by the Committee on Public Information, and
the net profit will be added to the Red Cross
fund.

The photographic division is so new that it
seems natural to refer to its activities as affairs
of the future. The fact is that even now its
pictures are being printed in the newly created
Signal Corps photo laboratory in Washington,
and results of its work are ready for use. Lenses,
paper and photographic apparatus of all kinds
are being studied and improved, though the most
up-to-date and labor-saving equipment is in use.

Many of the officers in charge of the photo
laboratory are news photographers who have
seen service on every European front. The
enlisted camera man faces the same dangers and
hardships as the soldier in the front line of
trenches, but the civilian war photographer has
a few extra worries, such as being continually
taken for a spy and often nearly shot, and hav-
ing his best pictures held up by the censor.
Diplomacy is more essential to him than a pass-
port, for by diplomacy a general may be induced
to trot out a battalion or so and stage an attack
or shoot off a few four-inch guns. He may even,
if properly approached, send his army out of a
city already taken and let the camera record the
triumphal entry for the benefflt of the public.
Such pictures are not properly speaking fakes,
because they represent true conditions, and
merely have the advantage of being taken under
favorable circumstances. Most war pictures,
however, are snapped without special prepara-
tion.

Pictures by our men, stamped with the seal
of approval of the Committee of Public Informa-

(529)

530

NOTES AND NEWS

tion, will soon be featured at local moving pic-
ture theaters. Already they are being displayed
in newspapers and magazines. These and other
pictures of a more technical or confidential
character will be studied in training camps and
at the War College. Representative pictures will
be laid aside for historical purposes; so that
America's share in the great war will be vividly
preserved for future generations of Americans.
At the beginning of the present war Germany
was the only country prepared to put aerial
photography into practice. England, France
and Italy had experimented along this line, but
a practical camera had not been evolved. Cer-
tain early German successes were attributed
directly to efficient work of scout photographers,
who secured sufficient information to enable
German troops to attack without hesitation at
critical points. But by October an Italian mov-
ing picture camera was taking pictures at a
height of 4000 feet, and cameras achieving vary-
ing degrees of success have been in use on both
sides ever since. Clarity and sharpness of lines
and detail are essentials of military photographs.
A lack of perspective in pictures taken from
directly overhead gives almost the effect of a
map, and a map with blurred and hazy lines is
not satisfactory in any way. German airplanes
falling within the allied lines have several times
placed unique cameras in the allies' hands.

War Photography

Sergeant William Groat, photographer for
the United States Army, and, as such, official
photographer of Pershing's expedition into
Mexico, will be in charge of the photographic
instruction to be given in the School for Photog-
raphers, to be opened in San Antonio, Tex., for
the Signal Reserve Corps. Sergeant Groat's
pictures already are well known in army circles.
On the Mexican expedition alone he took over
five thousand views, which have become part of
the Signal Corps records.

Instruction for the movie operators who also
are to be enlisted to film the Government's record
of the War of 1917, will be in charge of Roy E.
Reeder, of Ballinger. Mr. Reeder, who is both a
motion-picture show proprietor, having a string
of shows in Texas, and a student of cinema photog-
raphy, is considered an expert in that line.

R. James Wallace with the Central Dry Plate Co.

The Central Dry Plate Co. have sent out
notice that Mr. R. James Wallace is now asso-
ciated with them. His chief duties will be along
the line of research work with a view to making
improvements wherever possible in the quality
of the Central products and in putting new brands
on the market. Mr. Wallace is a member of
many American and foreign learned societies and
has been for many years head of the Research
Laboratory of the G. Cramer Dry Plate Co.

"Unconventional Portraiture."

This is the title of the latest issue (165) of
The Photo Miniature and presents one of the most
interesting and valuable numbers of this series.
We are told (in Mr. Tennant's clear, delightful

style) what unconventional portraiture means;
where it began; the spirit of it, and how to do it — ■
with a few examples from noted photographers,
which illustrate the text. Seldom is so much
good practical material put in so concise a manner
and at such an enticing price — 25 cents. — For sale
by all dealers.

Sherill Schell Returns to U. S.

Sherill Schell, whose distinctive work as a
photographer has won for him a deserving inter-
national reputation, has recently returned to this
country

While devoting years to portrait photography
Mr Schell's experiences and other aims in life
are interesting. At the outbreak of the war he
was on a holiday in Belgium and did some
notable work for many months with the French
Red Cross, being in the firing line on many
occasions'. In addition to his accomplishments
in photography, he is a bibliographer and a
writer of note, his art criticisms having attracted
especial attention here and abroad.

We are sure to hear more from Sherill Schell in
the near future.

Well-known House, Sol. Pudlin Co.,
Moves Up Town

The old and well-known photo supply house
of Sol. Pudlin Co., which for years has made its
headquarters on the Bowery, has moved into
large and attractive new quarters at 1212
Broadway, New York City. They occupy three
ample floors in this building, and are thoroughly
equipped with the latest photographic appliances
and standard goods. When in town a visit will
repay you.

"About Lenses"

If you want to know how a lens forms an
image, or about focal length, depth of focus, and
why cameras have different kinds of lenses,
this little book will tell you in a clear and con-
cise way all about it, and it will enable the inex-
perienced to select a camera fitted with the
kind of lens that is best adapted to particular
requirements. This information may be just
what you are looking for, and can be had for the
asking by writing the Eastman Kodak Co.,
Rochester, N. Y.

To Take Census of Photographers

A letter that has been received by the Roches-
ter Camera Club, Rochester, N. Y., from the
chief signal officer, War Department, asks that
it assist the department in the taking of a census
of photographers.

Apparently Uncle Sam is in need of photog-
raphers for work with the army and navy and
is endeavoring to ascertain the number avail-
able. Photographers accompany aviators on
scouting duty and take pictures of trenches,
ammunition dumps, roads and everything else
that may be of importance. They also have
pictures to take on the ground behind their own
firing line.

Of course, the War Department when asking
for the census of photographers does not want

NOTES AND NEWS

531

the names of persons who know only how to
operate small cameras. A blank will be furnished
by the War Department for photographers to
fill out.

Some of the questions as to experience that
must be answered on the census blanks are:
Motion-picture operating, feature films; motion-
picture operating, news films; motion-picture
developing; motion-picture printing; motion-
picture toning, tinting, finishing; motion-picture
assembling and cutting; motion-picture titling;
motion-picture protection; motion-picture stor-
age; still work, outdoor; still work, press photog-
raphy; still work, commercial; still work, studio;
still work, studio, laboratory; still work, news-
paper laboratory; still work, commercial amateur
finishing laboratory; color photography; enlarg-
ing; developing; printing and finishing; retouch-
ing; camera repairing or construction; foreign
languages known; military experience, if any;
aviation experience, if any; experience in aviation
photography, if any.

Blanks for photographers wishing to enroll
in the census and further information may be
obtained by addressing M. Francis Moffatt, in
care of the Rochester Camera Club, No. 123
Main Street, West.

University, or Mr. Clarence H. White, School
of Photography, 122 East 17th Street, New
York City.

$8,000,000 Photograph Company

Underwood & Underwood, photographers,
have incorporated in Delaware with s$8,000,000
capital stock. The previous incorporation, regis-
tered in the State of New Jersey, was for
$100,000.

Elmer Underwood, the Treasurer, states that
the corporation had been expanded because it
was planned to open branch houses in various
parts of the country and that more capital was
needed for that purpose. He said the growth
of the business was not due directly to the war
or the sale of pictures from Europe, and that most
of the branches would be in the line of commer-
cial photography.

Prize Contest Open to Teachers College and
Columbia Alumni

Mrs. C. H. Jaeger, the wife of Dr. Charles
H. Jaeger, of the College of Physicians and
Surgeons, and for some time a student at
Teachers College, has recently offered three
prizes for the best photographs of the buildings
and ground of Columbia University, including
Teachers College. There is no limit to the size
or character of the prints other than that they
shall be made as permanent as possible and shall
be mounted ready for an exhibition to be held
next winter.

Any one, now or formerly, a student of
Teachers College or of any other part of Columbia
University may submit prints. The contest
will close December 16, 1917, after which time
the three prizes of $75.00, $25.00, and $15.00
will be awarded.

For further information address Professor
Arthur W. Dow, Teachers College, Columbia

Exhibition of Pictorial Photography

The Portland Camera Club has in its assembly
rooms at the Portland Society of Art, an exhibi-
tion of Pictorial Photographs by Mr. Dwight A.
Davis, of Worcester, Mass. There are twenty-
nine pictures, and they are worthy of every-
one's study. Mr. Davis is known for his por-
trayal of sunlight, and in his platinum and gum
prints shows his ability to handle the light and
shade with great delicacy. Mr. Davis's pictures
are mostly figure studies of very pleasing senti-
ment and versatile in selection. Some depict
romantic conceptions, some poetry, while others
show the scenes of an everyday home in a
manner full of sentiment and charm. He also
shows some fine heads as well as some very
interesting still-life pictures. All of Mr. Davis's
prints are excellent technically, both in low and
high-keyed work and are full of charm and
atmosphere.

The Portland Camera Club has arranged as a
part of its schedule to have frequent one-man
exhibition from some of the best photo pictorial-
ists in the country. During the past year there
have been exhibitions from such men as Mr.
W. H. Porterfield of Buffalo, Dr. Ruzicka and
Mr. Karl Struss, both of New York, etc., and this
season's schedule contains among other names
those of Dr. A. D. Chaffee of New York and Mr.
Edward Henry Weston of California, the latter
a member of both the Pittsburg and London
Salons.

New Catalogue of Flashlight Apparatus and
Powders

We have received from the Prosch Mfg. Co., 334
Fifth Avenue, this city, their new and complete
catalogue of flashlight apparatus and powders.
This catalogue places in the hands of profes-
sionals and amateurs a safe guide, and explicit
instructions are given just how to use everything
offered. The flashlight is of so much importance
and has such large possibilities these days that
every one should be well informed in standard
goods.

Death of William A. Cooper

William A. Cooper, one of the best-known
art photographers in this country, who made a
specialty of reproductions of the paintings in
the galleries of American millionaires, died on
Friday, November 9 at his home 1714 Avenue
J, Flatbush, N. Y., in his seventy-fifth year.
Up to the time of his retirement, three years
ago, he had a studio at 292 Fifth Avenue,
Manhattan. Mr. Cooper was born in London,
Canada, and spent several years abroad study-
ing his profession at London, Paris and Munich,
and on his return brought back many original
methods which he employed here. Among the
notable collections he photographed were the
Wldener, Elkins, and Johnson collections in

532

AMONG THE SOCIETIES

Philadelphia; the Frick gallery in Pittsburg;
Sir William Van Horn's collection in Montreal,
Canada, and the Hearn and Isaac and Louis
Stern collections in this city.

Get the Soldiers' Business

If an army of a million men is raised, the
services of approximately one out of every
hundred of our population will be required.
Every one of these men should be photographed,
and most of them will be, but they need to be
reminded — and this is up to you.

Be careful how you handle this delicate subject
in your advertising. Put yourself in the place
of the soldier boy's mother or father. If some
one said to you: "I am mighty glad my boy
isn't old enough to go, for he wants to, and I am
afraid a lot of them will never come back; if I
were you, I would insist on my boy having his
photograph made, for you may regret it if you
don't" — that sort of an argument wouldn't
make you feel a bit good, would it? But on the
other hand, if someone were to say: "It's a
grand thing to be able to serve your country
and I am only sorry I can't go. I think the boys
should have their pictures made for those of us
who have to stay at home, and we should send
them pictures of the home folks to show them
that out hearts are with them" — that kind of
argument would make you feel a lot better,
wouldn't it?

Make your advertising appeal to the loyalty
of the boys to their homes as well as to their
country — tell them that their friends are proud
of them — that they want their photographs in
uniform, and you will have appealed to sentiment
without giving a twinge to heartstrings that are
already tense with emotion.

Cheerful, optimistic advertising will bring
results much more quickly than that which
brings tears, suggests broken homes, and dis-
courages loyalty. Let your advertising be free
from any note of calamity — but advertise for
the soldier's business, make the best work you
know how to make and you will get results. —
Photo Digest.

Photographic Subjects in Leading Periodicals

"The Stencil Process of Coloring Cinemato-
graphic Positives," by A. S. Cory, Motion Picture
News, August, 1917, p. 1038.

"Storing Paper," British Journal of Photog-
raphy, 1917, p. 392.

"Some Points in Copying," British Journal of
Photography, 1917, pp. 447, 459-470.

"Hydrochinon Toning, Camera, October, 1917,
p. 537.

"Photographic Resolving Power," by A. S.
Cory, Motion Picture News, September, 1917,
pp. 2055, 2231.

"The Photographic Rendering of Tone
Values," by C. E. K. Mees, Studio Light, August,
1917, p. 6.

"Stains on Negatives and Prints," Photo Era,
August, 1917, p. 66.

"The Effect of Moisture," Studio Light,
August, 1917, p. 14.

"Tone Rendering and Quality in Gaslight
Papers," by T. D. Tennant, Photo Era, October,
1917, p. 172.

"System in Retouching for the Trade, British
Journal of Photography, 1917, p. 472.

"Trick Work and Double Exposure," by
C. L. Gregory, Moving Picture World, September,
1917, pp. 1854, 2002; October, pp. 90, 238, 542.

"The Technicolor System of Color Pho-
tography," by A. S. Cory, Motion Picture News,
October, 1917, p. 2606.

"Removing Developer Stains by Redevelop-
ment," Studio Light, August, 1917, p. 22.

"Unconventional Portraiture," Photo Minia-
ture, September, 1917.

"The Laws of Fixation," by A. W. Warwick,
American Photography, November, 1917, p. 585.

"The Physical Characteristics of the Elemen-
tary Grains of a Photographic Plate," by Millard
B. Hodgson, Journal of the Franklin Institute,
November, 1917, p. 705.

AMONG ■ " "■_
^OCIETIE^

Middle Atlantic States Convention in Baltimore
Next March

We learn from the secretary, William Kinling,
that active and elaborate preparations are being
made for this big convention, which is to be held
in Baltimore next March. President A. H. Diehl
is devoting most of his time forming a program
and from all accounts every indication is for a
helpful convention and a big attendance.

Professional Photographers' Society of
New York

A meeting of the Executive Committee was
held at Baggs Hotel, Utica, October 31, 1917,
at 2 p.m.

President F. E. Abbott, Little Falls; secretary

E. U. Smith, Honeoye Falls; treasurer Edwin
Park, Oneida; Mary A. Stewart, Canandaigua;

F. E. Spedding, Ithaca; F. E. Hewitt, Corning;

AMONG THE SOCIETIES

533

E. H. Stone, Hamilton; W. E. Bacon, Utica; C.
Olszewski, Utica; W. G. Mandeville, Lowville,
and C. K. Frey, Utica, were present.

Meeting called to order by President Abbott
and by unanimous vote C. K. Frey was chosen
permanent chairman of the Executive Com-
mittee.

Letter read from past-president E. L. Mix,
New York City, expressing his regrets at not
being present and pledging the support of the
Metropolitan Section in the coming State con-
vention. Letter of regret also read from W.
E. Talbot, Schenectady, N. Y., and George W.
Thompson, Ilion, N. Y.

The matter of the coming State convention
was thoroughly discussed and it was decided to
hold the convention February 26, 27, and 28,
1918, at Hotel Utica, Utica, N. Y. Many
valuable suggestions were offered to make this
convention of special helpfulness. It was also
suggested that photographers write the Presi-
dent whatever they think would tend to make
the convention better.

The committee was in session over three
hours and was pronounced one of the best
executive meetings yet held

F. E. Abbott, President.

The New England Convention

The Photographers' Association of New
England held its 19th annual convention in
Infantry Hall, Providence, R. I., from September
25 to 27, inclusive, and while it was the first
photographers' convention ever held in Providence
it was one of the most satisfactory meetings yet
held from many points of view. The attendance
was 347, and the banquet was enjoyed by 129.
The exhibits were most attractive and well
arranged, and altogether formed an interesting
and educational display worth studying. The
next annual convention of the Photographers'
Association of New England will be held in
Springfield, Mass.

Officers elected : L. B. Painting, Concord, N. H.,
President; John Sabine, Providence, R. I., Vice-
president, A. E. Whitney, Norwood, Mass., Secre-
tary; E. H. Holton, Boston, Mass., Treasurer.

State Vice-presidents: Maine — Frank Adams,
Portland; New Hampshire — C. L. Powers, Clare-
mo nt; Vermont — H. E. Bosworth, Springfield;
Rhode Island — Earl Mills, Providence; Con-
necticut— A. K. Peterson, Hartford.

National Photographic Manufacturers'
Association

Resolutions passed at the first meeting held
at the Narragansett Hotel, Providence, R. I., on
September 26, 1917:

Be it resolved: That we, the undersigned,
manufacturers of photographic materials, have
organized under the name of National Photo-
graphic Manufacturers' Association.

Be it further resolved: That the primary
object of this Association is to exert every pos-
sible effort to improve photography for those
who follow it as their cherished profession.

Be it further resolved: In order for the
N. P. M. A. to work in closer harmony with
the Amalgamated Associations and the National

Association of Professional Photographers
throughout the United States, that the local
secretary of each and every association of pro-
fessional photographers operating under a
national charter, submit to the secretary of the
P. A. of A., ninety days before the date of the
convention, the proposed program of their
respective conventions in order that the secretary
of the national organization, through his experi-
ence in convention work and his constant close
contact with the problem of both photographer
and manufacturer, may suggest changes thereto
and give to same his approval, which will be
considered official, thus assuring both the con-
sumer and the manufacturer a convention of
vital interest and profit greatly surpassing any
former effort along convention lines.

Be it further resolved: That the secretary of
the P. A. of A. shall submit to the officers of the
N. P. M. A., or to a representative number of
manufacturers to be specified by the N. P. M. A.
sixty days before the convention date, the
approved program for the consideration of the
manufacturers before returning it to the secre-
tary of the Amalgamated Associations by whom
submitted.

Be it further resolved: That the diagram of
floor space for a convention shall not be mailed
to the manufacturers until after the proposed
program for the convention has been submitted
by the local secretary to the national secretary
and by him to the N. P. M. A. and found agree-
able to all, returned to the local secretary, from
whom it originally came, and that the floor plans
for every convention shall have the "OK"
of the secretary of the P. A. of A. before being
mailed to the manufacturers. This will enable
the manufacturers to work in closer cooperation
in the preparing and arranging of their displays.

National Photographic Manufacturers'
Association

G. A. Cramer, Chairman.
Jos. A. Dawes, Secretary.
Ansco Company Eastman Kodak Co.

Calif. Card Mfg. Co. Wollensak Optical Co.
Central Dry Plate Co. Haloid Co.
Taprell, Loomis & Co. Hammer Dry Plate Co .
A. M. Collins Mfg. Co. Presto Mfg. Co.
G. Cramer Dry Plate Co.

Annual Meeting of the Pictorial Photographers
of America

The annual meeting of the Pictorial Pho-
tographers of America was held at the club-
rooms of the National Arts Club, New York,
on Monday evening, November 5. Following
we give the names of officers and executive
committee elected for the ensuing year: Clarence
H. White, president; Gertrude Kasebier, Hon.
vice-president; Dr. A. D. Chaffee, vice-president;
Edward R. Dickson, secretary; Dr. Charles H.
Jaeger, treasurer. Executive committee: Henry
Hoyt Moore, Maud H. Langtree, Karl Struss,
Ray Greenleaf, Walter L. Ehrich, Adele Shreve,
Charles J. Martin, Arthur D. Chapman, Dr.
D. J. Ruzicka.

The secretary, Mr. Edward R. Dickson, has
presented in a very clear manner some of the

534

AMONG THE SOCIETIES

accomplishments and aims of the association,
which we are pleased to quote in part :

"In the successful arrangement of the Eastern
and Western Traveling Exhibitions of Pictorial
Photography, which will be shown in sixteen of
the leading art museums and public libraries
throughout the country, the Pictorial Pho-
tographers of America has introduced itself to
the public as an Association having in mind
solely the development of the art of photog-
raphy from a stand-point of educational value.
The position of this Association is unique, since
it affords the worker, not only an opportunity to
exhibit his pictures, but insists upon the main-
tenance of photographic standards, and encour-
ages its members to study the arts for breadth of
view.

"The Association consists of well known men
and women — who have pledged themselves to
place photography on the highest plane, and who
by diligent work have been able to accomplish,
in the first year of their organized effort, that
which has never been done for photography
before. Membership is open to men and women
of fine character and ambitious intentions,
including those who, though not photographers,
are interested in the development of the art.
Monthly meetings are held at the National Arts
Club, New York, from October to June, when
interesting papers are read."

The latest (October) number of the Photo-
graphic Art, the official organ of the Association,
is truly "a thing of beauty and a joy forever"
and bespeaks the high art standard and aims of
the members. Every photographer interested
in pictorial photography will value a copy.

Report of the Professional Photographers' Asso-
ciation of Texas Convention

The meeting of the Association in convention
was called to order on the morning of October
10, in the City Auditorium of Houston, by
President Elliott, all officers being present. The
address of welcome was made by Mayor Hutch-
inson, of Houston, who made many kind refer-
ences to photographers in general and those
present in paraticular, and told the boys and
girls that Houston and all it contained was theirs
to do with as they saw fit. The Mayor missed
his calling; he should have been a photographer.
Art Edwards, President of the Houston Photo-
graphic Association, answered the Mayor's
address in a few well-chosen remarks, which won
the hearts of all who were present.

Minutes of previous meeting were approved
and the following committees appointed by the
President :

Constitution and By-Laws: C. I. Browne, of
Dallas; M. Kempe, Hempstead; J. S. Hutch-
craft, Houston.

Auditing: C. Christiansen, Austin; Fred
Winkleman, Brenham; Joseph Lux, Sealy.

Necrology: H. J. Braunig, Hallettsville; C. B.
Burdsal, Dallas; Mrs. F. P. Davenport, Waxa-
hachie.

Resolutions: C. I. Browne, Dallas; A. L.
Blanchard, Hillsboro; A. M. House, Ladonia.

Communications were read from many who
were unable to attend. Also a letter from C.

Weichsel, stating that Mr. S. S. Griffith, their
manager, could not be present owing to the death
of his wife. Resolutions of condolence and
regrets were adopted by a rising vote.

October 1 1 : Communications were read
from various photographers and dealers; one of
special interest being from W. D. Orr, Memphis,
Texas, who sent a check for $12.50 to be used
by the Association as it was needed. Mr. Orr
also suggested that the Association buy Liberty
Bonds and place itself on record as an up-to-date
body of men and women.

The Resolutions Committee suggested the
changing of the By-Laws so that the offices of
Secretary and Treasurer be combined. This
report was accepted and the motion adopted.

The election of officers followed, and resulted
in the election of A. M. Howse, of Ladonia,
President; C. I. Browne, Dallas, Vice-President;
A. L. Blanchard, Hillsboro, Secretary-Treasurer.
All being elected by the Secretary casting the
vote for the Association.

October 12: Auditing Committee reported
that the books of the Secretary and Treasurer
were "absolutely correct."

Resolutions of thanks were extended to the
citizens of Houston, the daily press, and a spe-
cial vote of thanks was extended to L. C. Irons
and the Schaeffer Photo Supply Co., for their
magnificent entertainment. A vote of thanks
was extended to the Houston' Association of
Photographers. Special stress was placed upon
the fact that the members of this Association
closed their doors one whole afternoon to go
with the "bunch" on the boat trip. A vote of
thanks was extended the retiring officers. Then
came the impressive service of Mr. Rockwood
presenting President Elliott with a small token
of esteem from the members, dealers and manu-
facturers in the form of a beautiful Masonic
watch charm. Martyn rose to the occasion and
even surprised himself by making a speech that
would have done credit to the Secretary.

The awarding of prizes resulted in:

Grand Prize — Browne & Browne, Dallas.

Grand Portrait — Paul Nashke, Galveston.

Open to the World — R. C. Nelson, Hastings,,
Nebr.

Class A — Mrs. P. F. Davenport, Waxahachic

Class C— G. W. Miller, Midland.

Class D— D. T. Mauldin, Munday.

Complimentary — H. J. Braunig, Hallettsville.

Wollensak Cup — Voorhees & Burdsal, Dallas.

Cyko Cup — Voorhees & Burdsal, Dallas.

The modern studio was a big success, as all
were agreed. The negatives were made and
finished so that the work could be followed from
beginning to end. C. I. Browne, of Dallas,
made a hit in his reception-room methods. Mrs.
E. A. Kroner, of St. Louis, demonstrated the
efficiency of her photo print dryer and inciden-
tally made several sales, which shows that it is
up-to-the-minute and the photographers know it.

The attendance was said to be the largest
had in many years, and, in fact, some who know
more about Texas affairs than the Secretary,
claimed it was the largest ever held, if studio
owners were counted only. The members were
pleased, the officers were pleased, the dealers
were pleased, and the manufacturers, so far as
we have heard, were pleased.

THE WORKROOM

By tde JieaTT Operator

doretypes and how to make them

The Toning of Gelatino- and Collodic-chloride

Papers
Intensification with Chromium
Brooch and Pendant Portraits
Collotype Prints from Bromide Paper

The Simplicity of the Carbon Process for Por-
traiture
Making a Ground-glass Screen
Gum Backs for Prints
Cold Weather Difficulties
Prize Slides and How to Make Them

Doretypes and How to Make Them

The new style of picture, the "Doretype,"
which has recently been introduced to the
photographic trade through the Eastman School
of Professional Photography, has met with an
unusual amount of favor from coast to coast.

Photographers who have taken up this new
process with the idea of making every picture as
attractive as the process permits, have been
successful. Doretypes sell at prices that insure
a good profit and permit the necessary amount
of care to be given each piece of work.

The popularity of the Doretype is due to its
unusual attractiveness, but the effectiveness of
the picture depends in a great measure upon
the setting it is given. The Doretypes shown
at the Eastman School are mounted in hand-
some leather cases made specially for these
pictures by Taprell, Loomis & Co. The pictures
in themselves are beautiful, but a handsome
case becomes a part of the picture and adds
materially to its attractiveness and to your
profit.

With edges simply bound or the picture
mounted in a frame, even though it be the best
frame you can buy, much of the attractiveness
of the Doretype is lost. You would not think
of framing a Daguerreotype and, like the Daguer-
reotype, the Doretype needs a fitting setting to
show it to the best advantage.

The Doretype is a warm-toned, thin, positive
image on glass and receives its brilliancy from
the material which is used to back it up. It
lends itself to almost any treatment — may be
backed with light tinted papers or various
shades of fine silk or satin, but the most satis-
factory method is to coat the back of the trans-
parency with a fine gold bronze.

The following instructions will give a fair idea
of the method, and a few experiments will enable
you to determine how the best results are secured.

The first requirement is a clear, thin positive
from any good negative. From large negatives
the positive should be made by reduction, as the
most attractive Doretypes are in small sizes.
Give full time and soft development, so that the
positive will be thin but full of detail. If you
must work from a flat negative, a contrasty
developer will be required; if your negative is
contrasty, a soft developer will be required;
while if you have a well-balanced normal nega-

tive, a normal developer will give you the' best
positive. The positive must be thin, because
the effect of brilliancy is secured by the light
reflected from the material used back of the
positive. A Seed 23 plate will give the best result
in making these positives.

When the positive has been developed, fixed
and thoroughly washed it should be redeveloped
in the redeveloping solution recommended for
giving sepia tones on Eastman bromide paper.
The formula is as follows:

Make up stock solution as follows:

No. 1 — Bleaching Solution
Potassium ferricyanide . 5 oz.

Potassium bromide ... 5 oz.

Water 120 oz.

No. 2 — Redeveloping Solution
Sulphide (not sulphite) of soda 5 oz.
Water 60 oz.

Prepare bleaching bath as follows:

Stock solution No. 1 ... 4 oz.
Water 4 oz.

Prepare redeveloper as follows:

Stock solution No. 2 1 oz.

Water 8 oz.

Immerse the positive in the bleaching bath,
letting it remain until only faint traces of the
half-tones are left and the black of the shadows
has disappeared. This operation will take about
one minute. Rinse thoroughly in clean cold
water. Place in redeveloper solution until
original detail returns (for about thirty seconds).
Rinse thoroughly, then immerse for five minutes
in a hardening bath composed of 1 ounce of the
following hardener to 16 ounces of water.

Water 5 oz.

E. K. Co. sulphite of soda . . 1 oz.

No. 8 acetic acid (28 per cent.) 3 oz.

Powdered alum 1 oz.

The redeveloped positive is thoroughly washed
and dried and very carefully spotted. It is now
ready for backing. If silk is to be used, only the
lightest shades and finest surfaces will be found
suitable. If tinted paper is used, an enameled
or very smooth surface is best. Lay the positives

(535)

536

THE WORKROOM

on the material to see what the effect will be.
If several positives of the same subject are
developed to different strengths it will be easy
to determine the best quality for Doretype
results by placing the several positives side by
side on the same material and comparing the
results.

If Doretypes are to be tinted, transparent
colors should be used, and these should be very
carefully blended; too little color is preferable
to too much; a delicate tint against a light
background will be found most pleasing. When
silk is used as a background it should be backed
up with cardboard, cotton and paper. Cut a
piece of cardboard the size of the positive, lay a
piece of cotton batting on the cardboard, cover
the cotton with a heavy sheet of white paper,
and place the silk over this. Lay the positive
on the silk, being careful to see that it is not
wrinkled, and passe-partout the positive and
backing together. By applying a slight pressure
while binding the edges the cotton will hold the
silk in good contact.

One of the most generally used methods of
backing is to coat the film side of the positive
with gold bronze. It is necessary to use care in
selecting the bronze powder, as these pictures
are very often small, and a coarse grade of powder
will give a coarse grain to the picture. A dark
gold bronze gives a dull effect that is not pleasing.
The best effect is secured by using a very fine,
natural-gold-color bronze that will work very
smoothly. In most cases this powder can be
supplied by the photographic stock houses in
1 ounce packages under the name "Light gold
photo coating powder." This powder must be
combined with a liquid, and it is important to
use one that will not affect the silver deposit or
the gelatin and that is as nearly colorless as pos-
sible. The dark-colored bronzing liquids change
the color of the bronze and the effect of brilliancy
is lost. The best thing we have been able to
find for liquifying bronze powder is lantern slide
film varnish. This varnish is colorless, dries in
about thirty minutes, and does not affect the
silver image or the gelatin. A four-ounce bottle
of this varnish costs thirty-five cents. Use a
small amount of the bronze powder, and add
varnish until the mixture is about the consistency
of thin paint. Apply it to the film side of the
transparency with a fiat camel-hair brush about
f inch wide, and allow to dry with the trans-
parency lying perfectly flat. If the bronze shows
brush-marks when dry it has been applied when
too thick. The solution should be thin enough
to flow together, should be applied quickly, and
should not be gone over once the entire surface
has been covered.

With this method the finished picture should
also be backed and edges bound to protect it
from moisture. If the positives have been
properly handled the results will be as permanent
as the silver image itself.

Don't make Doretypes in large sizes; don't
show them except in appropriate cases; don't
look upon them as cheap novelties. They should
rank with miniatures, and they surely give you
the opportunity to offer your trade something
out of the ordinary for gift pictures. — Studio
Light.

The Toning of Gelatino- and Collodio-chloride
Papers

Toning is the most delicate operation which
the photographer has to carry out in his work.
Very small things suffice to completely upset it:
a wrong or unsuitable strength of the bath will
cause false contrasts to be formed in the prints;
an incorrect chemical state of the solution will
be the cause of faded prints. It is, in fact, most
necessary to grasp the meaning of toning and
the functions of the constituents of the bath
used in order to produce reliable results without
hesitation and without failure.

There are three chief kinds of printing-out papers
which are toned with gold, platinum, or some
other metal. The first of these is plain salted
paper; the other varieties are gelatino-chloride
and collodio-chloride P. O. P. The three may
be treated alike, but the best results are obtained
if each receives special and suitable treatment.

The ordinary printing-out paper, in which
gelatin is the vehicle for the sensitive salts, is
usually prepared with a mixture of free silver
nitrate, silver chloride, citric acid, and either
the citrate or tartrate of silver. The silver
chloride and citrate become reduced during
exposure to light to subsalts which are almost
insoluble in sodium thiosulphate, or hypo.
Some of the silver nitrate, which is, of course, a
soluble salt, is partially utilized in the formation
of the printed image, but the majority of it
remains in the film, as does also the total amount
of critic acid; preservatives and hardening
agents used in the emulsion are either soluble
or else unite with the gelatin and form inert
substances.

In order to carry out toning under the most
suitable chemical conditions, it is necessary to
work with an image of insoluble reduced silver
salts in a film of pure gelatin, and the obvious
way to produce such a print is to thoroughly
wash the film. Some of the largest users of
P. O. P. never give any washing previous to toning,
and obtain highly satisfactory results; but if
this be done there is either a rapid deterioration
of the toning bath or else the toning is not all
due to the deposition of gold. Certain makes
of P. O. P. have very much less free silver in the
film than others, and it is curious that the latter
seem to give the best results when toned without
previous washing. The method is, however, a
very ill-advised one.

The object of the toning bath is to deposit
gold upon the image and so provide a covering
which is in every way permanent; hence, the
usual selection of such metals as gold, platinum,
palladium, iridium, etc. It has been found in
practice that a slow deposition of the metal
gives the best and most stable results; in other
words, very quick toning is not to be recom-
mended,

The best prints for toning are those which
have been slowly printed in well-diffused light
and have a good amount of contrast. Take, for
instance, the analogous case of a plate over-
exposed in a brilliant light; the negative is very
flat and develops too rapidly, with the result
that there is no body in it. Now a rapidly printed
piece of gelatino-chloride or other printing-out

THE WORKROOM

537

paper, though it may look quite dense on the
white paper support, is in reality equally flat.
But in toning, every atom of gold deposited on
the image robs the latter of at least one atom
of silver; much toning, therefore, diminishes
the body of the image, and a weak image will
not admit of this. Hence a fairly dense image
containing plenty of silver is absolutely necessary.
The gold trichloride of commerce may be
represented by the chemical formula AuCl3; in
the preparation of some baths the trichloride is
reduced to the monochloride, AuCl;' the action
■of these salts upon the silver of the image is as
follows :

(1) AuCl3 + 3Ag = Au + 3AgCl.

(2) AuCl + Ag = Au + AgCl.

In the latter case only one atom of silver is
converted into silver chloride for each atom of
gold deposited. The AgCl, of course, fixes out
in the hypo bath.

The easiest method of thoroughly preparing
the prints for toning is to wash them in plain
tap water until it no longer becomes turbid,
i. e., until the chlorides in the water no longer
have any more free silver nitrate with which to
react. Immersion in a salt bath is often recom-
mended, especially before platinum toning, but
it is not imperative even in the latter case if the
preliminary washing has really been thorough,
and for this it is necessary to keep the prints
well separated. Sometimes immersion for a few
seconds in a dish of water which has been ren-
dered very slightly alkaline by the addition of a
few drops of 10 per cent, ammonia will assist
toning, as it neutralizes the last traces of acid
in the film; but the alkaline character of ordinary
tap water is usually sufficient to insure neutrality
of any acid not removed by actual solution.

One of the most easily manipulated and certain
baths is a dilute one in which plain neutralized
gold trichloride is employed. The formula is as
follows:

Water 1 pint

Gold chloride 1 gr.

To this add sufficient of a saturated solution
of sodium bicarbonate to just neutralize the
acidity. This may be found by testing with
litmus paper; as soon as neutral litmus paper
remains mauve and is no longer turned pink the
solution will be neutral. The bath works rather
slowly, but the action is regular and even, and
the deposition of the gold takes place under
the most favorable conditions.

Gold sulphocyanide dissolved in an excess of
ammonium sulphocyanide is the most popular
toning bath at the present time, 30 grains of
sulphocyanide being usually mixed with 2 grains
of gold trichloride and 16 ounces of distilled
water.

Gold chloride, by the way, should be always
mixed with distilled water, as tap water contains
a certain amount of organic matter and fre-
quently iron also, both of which decompose the
gold salt. Ferrous salts precipitate gold from
solutions of its salts, and ferrous sulphate is often
used to throw down the gold from old toning
baths.

The phosphate, formate, tungstate, and borate
of soda are among the most popular salts used
in the preparation of gold baths. A borax bath
giving good photographic purple tones may be
prepared as follows:

Water 10 oz.

Borax 30 gr.

Gold chloride 1 gr.

The formate bath, on the other hand, give
excellent warm-red tones, and may be prepared
thus:

Water 10 oz.

Sodium formate 10 gr.

Gold chloride 1 gr.

Sufficient sodium bicarbonate must be added
to the solution to make it neutral, between 1 and
2 grains being usually required. It is advisable
to use a salt bath before toning when formate is
employed.

One often meets with inquiries as to the best
method of obtaining warm tones on P. O. P., and
special baths are looked for. But, as a matter
of fact, practically all varieties of warm, reddish-
brown tones can be obtained by an ordinary
gold bath, such as the sulphocyanide, if the
prints are toned slowly and toning be stopped
instantly when the desired color has been
obtained. A weak solution of sodium sulphite,
often called a "short-stop bath," is suitable for
this purpose, and is prepared as follows:

Water . .
Sodium sulphite

10 oz.

1 dram.

This should be freshly made up. When the
color which is wished for has been obtained, as
seen by examining the print by transmitted
light, the latter is removed to the sulphite solu-
tion, where toning is immediately arrested, and
after a minute or two it is rinsed well and trans-
ferred to the fixing bath.

Collodio-chloride papers seem to be especially
suited to platinum toning, while the borax or
bicarbonate gold baths are quite suitable for
gold toning. While in most cases the gold bath
is alkaline (acid gold baths have been suggested
from time to time), a platinum bath requires
to be acid. Mr. Haddon's bath is a thoroughly
reliable one, and the approximate formula is
given below:

Platinum perchloride .

• Igr.

Sodium formate

■ 33 gr.

Formic acid

10 minims

Water

12 oz.

Those who prefer a bath which is simpler to
prepare will find a nitric acid solution of potas-
sium chloroplatinite work well, as suggested
by Liesegang; while Valenta's formula, stated
below, is a very popular one :

Potassium chloroplatinite 1 gr.

Metaphenylendiamine . 1 gr.
Water 4 oz.

538

THE WORKROOM

A bath containing 180 minims of phosphoric
acid and 2 grains of the chloroplatinite in 10
ounces of water will also be found particularly
suitable for collodio-chloride papers.

Combined gold and platinum toning yields
good black tones, and is usually carried out by
toning first slightly with gold, and then thor-
oughly with platinum. Black tones, or very
cold blue ones, can be obtained with gold alone,
but the prints should be made extra deep in
order to stand the excessive conversion of silver
into silver chloride.

Many exceptional baths have been suggested,
such as a gold bath containing potassium iodide,
for producing carmine tones, etc. One given by
Valenta, in which uranium is used as the metal
toner, is worthy of trial, and is as follows:

Uranium nitrate . . . 5 to 10 gr.
Thiosinamine ..... 45 gr.
Water 10 oz.

After the preliminary washing, the prints are
rinsed in water acidulated with a few drops of
acetic acid. The fixing bath should not be
stronger than 3 ounces of thiosulphate to the
pint of water.

Lastly, we come to a consideration of the
combined bath, in which toning takes place
simultaneously with fixing, and, to a great extent,
after fixing. A P. O. P. print will, for instance,
be thoroughly fixed, as a rule, in six or seven
minutes, while prints are frequently left in a
combined bath for a. quarter of an hour. One
advantage of the average combined bath is that
double toning is seldom met with. Double
toning is due most frequently to unevenness in
the coating of the paper, but sometimes to
uneven action of the toning bath, i. e., a deposi-
tion of gold on the high lights at a different rate
from that on the shadows. What must be
guarded against in using the combined bath is
the production of a greenish-gray tint in the
faint details, which is due to sulphuration. The
dangers of the combined bath may readily be
seen when we remember that most acids decom-
pose thiosulphate and liberate sulphur and sul-
phuretted hydrogen. Prints are put into a
combined bath without a preliminary washing,
and thus the citric acid in the film is free to react
with the thiosulphate in the bath. The smell of
sulphuretted hydrogen is experienced practically
always in the use of the combined bath, and
although the presence of a lead salt may take
up most of the sulphur, it is probable that a fair
proportion of silver sulphide, or "tone," is
formed also.

Lumiere has recommended a combined bath
with which "permanent" prints are obtainable,
and the following is the formula:

Warm water 20 oz.

Hypo 7 oz.

Alum 170 gr.

Lead acetate 17 gr.

Citric acid 17 gr.

Dissolve the hypo, citric acid, and alum, and
when cold add the lead acetate. Allow to stand
several hours, and then filter. Then add If

ounces of distilled water containing 7 grains of
gold chloride to the clear filtered solution. If
the bath is not going to be used up at once, it is
best to only mix the necessary gold chloride with
the portion to be immediately used.

The fault of many combined baths is that they
work too rapidly, and there is a danger of taking
the prints out before they are fully fixed. To
avoid this, a supplementary hypo bath should
always be kept handy, to which toned but
insufficiently fixed prints may be transferred to
finish off the fixing. This may, if desired, be
rendered slightly acid with sodium sulphite, in
order to arrest the toning action at once. — ■
Amateur Photographer.

Intensification with Chromium

This process of intensification is not exactly
new, seeing that the fact of its being a possible
method was pointed out many years ago. At
that time the reason of the intensifying action
and the fact that it was actually due to the
addition of a chromium compound, was not
known. Photographers looked upon it as a
curious experiment, rather than as a useful pro-
cess, and it was not suspected that by proper
adjustment of the ingredients used the power of
the intensifying action could be increased to
such an extent as to render the method a formid-
able rival to mercurial methods. A few years
ago, however, the process was exhaustively
studied, the results analyzed, and the conditions
that govern the amount of control were deter-
mined. The process was rendered powerful and
certain, and it then was speedily adopted by
many workers. Its present popularity is proved
by the fact that so many different manufacturers
are now putting the materials upon the market
in the form either of solutions or of that of
compressed solid tablets.

It has the advantage of being a very simple
process, and the necessary ingredients are to be
found in practically every photographer's work-
room. Nothing is required beyond some potas-
sium bichromate, hydrochloric acid, and a suit-
ble developer. The process is applicable to
negatives, lantern slides, or bromide prints, and
in each case the procedure involves the simple
bleaching of the image, followed by washing.
The result is then developed, washed again,
and dried. The bleaching solution works at its
best when freshly mixed, but the separate solu-
tions keep indefinitely, and the mixing involves
no trouble whatever.

A 4 per cent, solution of potassium bichro-
mate is required, and also a 2 per cent, solution
of hydrochloric acid, that is to say, one made
by adding 2 parts of concentrated acid to 98
parts of water.

For use, we mix equal parts of these two
solutions and immerse the plate or print in the
mixture until the black image is changed to a
yellow-brown one.

The bleaching action is finished when all
traces of the black or gray image have gone.
It will then be seen that the whole film is stained
yellow, and the next operation is to wash until
this yellow stain has gone. Twenty minutes in
a syphon washing tank is generally ample for a

THE WORKROOM

539

negative or slide; or we can wash by soaking,
when half a dozen changes of water will usually
suffice either for a print or plate. When washed,
the image is redeveloped up to full blackness,
then washed and dried. The most satisfactory
redeveloper is amidol, but metolhydroquinone
or glycine can be used if more convenient.
Rodinal, metol, or hydroquinone used alone are
not satisfactory, neither is ferrous oxalate, but
pyro can be employed if a brown-colored image
is not objected to. No bromide should be used
with any developer.

The process can be repeated on the same film
over and over again, but usually the first opera-
tion is sufficient. The image is generally of
greater density than one would think as the result
of mere visual examination, therefore it is advis-
able to make a trial print before repeating the
process. If repetition is likely to be required,
use the amidol developer. The others being
strongly alkaline, are very likely to cause frill-
ing if applied more than once to the same plate.

The process is very rapid and safe. The three
common causes of failure are the use of stale
bleaching solution or developer, exposure in too
strong light before development, and the attempt
to carry out the process on films that were not
properly fixed in the first instance. The last
cause is a prolific source of trouble with all
kinds of intensification, while imperfect wash-
ing after fixing is fatal with nearly all processes
except the chromium one. This can actually be
applied to a fixed plate that has been rinsed only,
though this procedure is not recommended, but
perfect washing is essential before such other
methods as uranium, or any of the mercurial or
silver processes. As regards exposure to light,
no exposure at all is necessary, as the image will
develop quite readily without it, but there is
no need to work in the dark-room or by artificial
light. Diffused light is quite safe if the washing
after bleaching is not carried on for more than
about twenty minutes in an open dish. Long
exposure to diffused daylight or a short one to
sunlight will, however, render the image less
easily developable, and may even render it quite
undevelopable; therefore, such exposure should
be avoided. Further than this, the developing
operation should not be carried out in sunlight,
for many developers stain most violently in a
very strong light, though in other conditions
they are quite stainless.

Two very valuable features of the process
are its applicability to bromide prints and lan-
tern slides. A weak bromide print is greatly
improved in color by the process, and the effect
produced on lantern slides is unequalled by any
other process except that of silver intensification,
which is a somewhat tricky and troublesome
method in inexperienced hands. The chromium
method gives a very fine black tone that is quite
permanent, while mercury usually gives brown-
toned results that are materially affected by the
heat of the lantern.

popular and now almost general — has received
a further impetus owing to the forced separation
of relations and friends due to the exigencies
of the war. Personal gifts of this character
given to those about to leave for the fighting
lines or for service abroad, or, from those going
away, to the ones left behind are always highly
prized and cherished, doubly so if the gifts
in question have the additional value of being
the personal handiwork of the donor. A simple
method, and one well within the capacity of
every amateur, is described below.

Briefly stated, the procedure consists in
sandwiching a film portrait between glass and
plaster of Paris; the photographic film being
permanent in character, and quite sealed from
chemical action of the air, finger marks, abra-
sions, and all accidents falling short of an actual
smash.

Photographers in the habit of making carbon
or bromide prints will have most, if not all,
of the requisites to hand. In addition to the
purely photographic articles, a supply of glasses
suitable to the work in hand and a small quan-
tity of fine plaster of Paris will be necessary,
in neither case expensive or difficult to obtain.
First, as to the glasses. The size and shape
will be governed by the use to which the finished
portrait will be put, the portrait subsequently
being taken to suit this size, or else negatives
already made will be used, and the article
and glass chosen accordingly. Nearly all
jewellers and fancy dealers stock brooches and
pendants fitted with glasses, but very rarely
will the glasses in these be found suitable to the
present purpose. The best plan is to have the
article — whatever it may be — fitted with a good
quality watch-glass, not the type known as "flat
crystal bevel," but with such as have slightly
curved edges to an almost fiat surface as the

Brooch and Pendant Portraits

At the present time the fashion of wearing
pendants, brooches, or buttons bearing a por-
trait of some near friend or loved one — always

section a, Fig. 1, or with a slight curved surface
as in section b. Domed glasses as c must be
avoided owing to the difficulty of obtaining
optical contact between the glass and film in the
transferring operations. No difficulty should
be experienced in procuring these glasses to
fit any standard size of fitting. The plaster
of Paris demands no special description other
than that it must be of fine quality, quite free
from dirt or grit, and quite fresh.

In most cases the portrait to be used will be
of the vignetted head and bust type. No
special type of negative is required, but those
made with white or light backgrounds are easier
to vignette.

Our first object is to obtain a positive trans-

540

THE WORKROOM

parency upon the inner or concave side of the
glass, and for this purpose we can use either
the carbon or the bromide process. If the
carbon process is used we proceed in exactly
the same manner as in making a carbon lantern
slide. It is possible with extreme cleanliness
and care to develop the printed carbon tissue
direct onto the glass surface, but a safer and
more reliable plan is to coat the glasses with a
warm solution of —

Gelatin ....
Bichromate of potash
Water ....

i oz.

1 dr.

40 oz.

When dry and briefly exposed to daylight for
a few minutes they are ready for use. This
treatment gives the surface of the glass a "grip"
it would not otherwise possess. Reversed nega-
tives are not required, as in this use of the carbon
process the side shown in the finished result is
that which we should deem the "back" of a
single-transfer carbon print. The tissue should

Fig. 2

receive the same exposure as that given for a
print on paper, and when developed upon the
glass should appear, when viewed by transmitted
light, very much weaker in density than an
ordinary transparency or lantern slide. When
developed the glasses are rinsed in a weak solu-
tion of alum, again rinsed in cold water, and
then stood on edge to dry in a place quite
free from dust.

An alternative method of making the trans-
parency was suggested by the introduction of
the bromide paper made and sold by the Kodak
Co. as transferotype paper. Since this paper
was placed upon the market I have used it for
this purpose with excellent results, and although
the extreme range of colors that the use of the
carbon process gives is lost, the finished results
otherwise are indistinguishable one from the
other.

The initial bromide print on the transferotype
paper is made and developed in the usual way,
and can be toned by any of the ordinary toning
formulae. The delicacy of the finished result
will depend in great measure upon the vignetting,
and every care should be taken to obtain nicely
balanced vignettes with softly graduated edges.

To anyone not used to making vignetted prints
of small size the method adopted may prove of
use. A piece of card large enough to well cover
the printing frame is taken, and a hole cut in
this the size and shape — round or oval, as the
case may be — of the glass it is proposed to use.
A piece of white tracing paper — tissue paper
answers quite as well, but is not so durable — is
damped and pasted on to the card so as to
cover the hole. When quite dry the center of
the tracing paper is cut away with the point
of a sharp knife, leaving a "fringe" of paper
round the hole; the "fringe" being left in depth
about one-seventh the diameter of the hole.
Over this another piece of tracing paper is
fixed and left whole, care being taken that no
paste adheres to any of the papers covering
the hole in the card, or uneven lighting will
ensue. This card arrangement is fastened by
means of small tacks to the front of the print-
ing frame, about one-third of an inch from the
negative, and so adjusted that the head to be
vignetted is in the center of the body of light
coming through the card. It will be found
that with light backgrounds this will give vig-
nettes of the desired character without move-
ment of the card or frame. If dark backgrounds
are used, it may be found necessary to cut a
hole with serrated edge in a piece of opaque
paper, and to superimpose this half over the
"fringe" mentioned above. Fig. 2 shows the
completed card as seen with the light coming
through it.

The instructions given by the makers of
the paper for transferring the film from the
paper to the glass must be slightly modified,
as it is not possible to use the squeegee upon
small curved surfaces. Optical contact between
the print and glass is obtained by the gentle
use of the tips of the fingers covered with a
damp, soft handkerchief. The heat of the
fingers is sufficient to soften and distort the
film, consequently it is advisable to place the
print and glass into position, and to expel as
much air as possible from between them while
they are still under water, any remaining
bubbles of air and water being gently pressed
out to the edge by the finger-tips until close
contact is observed. Except in this one matter
of squeegeeing, the makers' instructions should
be rigidly followed until the transparencies are
dried, when the final operation, which consists of
filling the glasses with plaster of Paris, can be
undertaken.

The plaster of Paris, which must be quite
fresh and not slaked by the action of damp air,
should be mixed to the consistency of thin
cream, and then poured gently and steadily
into the center of the glass. Care must be
taken to avoid the imprisonment of air bubbles
between the film and plaster, but this should
not occur if the plaster is poured in a thin
steady stream. The glasses should be filled
until the plaster rises above the edges, and
then allow to "set," the surplus plaster being
subsequently removed by scraping it away with
the straight edge of a table knife.

Little remains to be done but to clean the
surface of the glasses and attach them to their
respective fittings.

THE WORKROOM

541

In the case of pendants two glasses of similar
size can be placed back to back while the plaster
is still moist and unset; the whole when dry
can then be inserted into a setting with a portrait
each side of it.

If necessary the transparencies can be spotted
or even colored prior to filling with the plaster,
and a variety thus introduced into the results.

The process lends itself to work in large
sizes as well as for the purpose given above.
One need only be bound by the limits to the
size of glasses than can be obtained. — Amateur
Photographer.

Collotype Prints from Bromide Paper

Bromide paper as used for ordinary contact
printing and enlarging may be used as a print-
ing surface for the production of a small quan-
tity of proofs, and has the advantage over
ordinary collotype that, from any negative that
will yield a good bromide print or enlargement,
it is possible to make a collotype printing-film
with image same size, reduced, or enlarged, and
at a very small cost.

The bromide paper used for this purpose is
what the manufacturers classify as semi-matt,
carbon surface, or velvet surface; glossy sur-
face paper can be used, but it is apt to blister
quickly. Some manufacturers make a special
paper and call it bromoil.

The prints or enlargements should be just
a little overexposed, and developed until the
highest light is decidedly tinted. The developer
that is the best is:

Pyrogallic acid .
Metabisulphite potash
Potassium bromide
Water ....

1 oz.
1 oz.
£oz.
9oz.

Label, "stock pyro."

Developer No. 1

Stock pyro 1 oz.

Water 9 oz.

Developer No. 2
Liquor ammonia 0.880 . . . 1 oz.
Water . 9 oz.

Mix No. 1 and No. 2 in equal parts. After
development, fix in:

Hyposulphite of soda ... 2 oz.
Metabisulphite of potash . . 60 gr.
Water 16 oz.

These prints or enlargements, like a collotype
plate, must have a white margin all round, of
at least one inch in extent, because if the inking
roller has to be used up to the edges the film will
come away.

After fixing in hypo the print or enlargement
must be thoroughly well washed and then dried.

When dry the print or enlargement is immersed
in a solution made up of

Copper sulphate . . . . 130 gr.

Common salt 720 gr.

Potassium bichromate . . 30 gr.

Water 20 oz.

This is used at a temperature of 75° F.

The image quickly bleaches to a bright yel-
low; then wash well in ten or twelve changes
of water; now immerse for five minutes in the
hyposulphite fixing bath as above; again wash
in at least twelve changes of water.

The next operation will be to lay the print,
face up, on a sheet of zinc, and to dab surface
dry with a damp chamois leather, when it is
ready for inking-up. This inking-up is done
with an india-rubber roller which has previously
been treated on a lathe with coarse emery cloth
or glass paper until the surface is like a piece of
velvet. Such a roller takes ink easily, and
parts with it just as readily without undue suc-
tion. This roller is charged with ink a little
thinner than ordinarily used for collotype and a
more gentle pressure is used. The image will
require some little time at first to get the ink to
take, but once it starts no trouble will be met
with. The best press for these prints will be
either an ordinary letter-press, such as an Albion,
or, failing this, an ordinary domestic india-
rubber wringer that has not had the rollers
twisted by domestic use. Any of the usual
means sometimes necessary to coax a collotype
plate into inking-up properly may be employed
for this medium, and the usual etching fluids
may be used, but the surface must only be dabbed
with a damp leather, not rubbed, nor is it advis-
able to use the usual damping rag. — W. T.
Wilkinson in Process Monthly.

The Simplicity of the Carbon Process for
Portraiture

At the present time there seems to be a taste
for photographs in almost every color except the
old orthodox photographic color, and, of course,
enterprising portraitists cater for it, and often
by troublesome methods, such as by toning
bromides, for example. But, after all, this is a
clumsy way when a simpler is at hand. Those
who have undertaken to produce, say, a dozen
prints by this means — all of the same tone —
are fully aware of the difficulty they will meet
with. Now, with the carbon process there is
no such difficulty, because tissues of almost
every color of the rainbow are now on the mar-
ket, and whichever one is selected all prints
made upon it will be of exactly the same tint.
It is thought by many that the carbon process
by the double transfer method, by which the
pictures are non-reversed as regards right and
left, is troublesome to work. But why work
the double transfer method at all? Why not
produce reversed negatives? Then the single
transfer method, the simplest of all photographic
processes, may be used. There are many ways
by which reversed negatives may be made. One
is by stripping the film from the glass and
printing from the reverse side. This method is
troublesome, and will not, we think, appeal
to the general body of portraitists. The por-
trait may be taken with the aid of a prism,
either before or behind the lens; but a prism of
good quality, suitable for a good-sized portrait
lens, is a somewhat costly affair. But reversing
mirrors are by no means so, as they may be had
at quite a moderate cost, and when kept in a

542

THE WORKROOM

good state of polish add very little indeed to the
exposure.

There is yet another method which entails no
outlay whatever. It is simply to put the plate
in the slide with the glass side toward the lens,
of course, making allowance for the thickness of
the glass in the focusing. As the glass now used
for dry plates is so uniform in thickness there
need be no difficulty from this source. There
is no more difficulty in developing a plate exposed
through the back than when it is exposed on the
film side, but the appearance of the image must
be watched for from the glass side, and not
from the film side, density being, necessarily,
judged in the ordinary way. It may, en passant,
be mentioned, that negatives made in this way
are free from halation arising from reflection
from the back of the glass. It goes without say-
ing that the back of the plate must be carefully
cleaned before it is put into the slide. Once our
reversed negative is obtained — by whatever
means — the production of carbon prints from it
in any color becomes the simplest of all photo-
graphic processes. All one has to do is to expose
the tissue — which may be of any color — mount
it on single transfer paper, and simply develop
with warm water, and fix it in a solution of alum,
and then we have a picture of unquestionable
permanence. There is one thing that may be
mentioned in connection with the single transfer
method and its advantage over the double,
which is that the prints may be made on the
coarsest surfaced papers, which is not possible
by double transfer. An objection may be made
to the fact that reversed negatives cannot be
used for ordinary printing unless we are content
to have the image, as regards right and left,
reversed. But why not, at the time of sitting,
if ordinary prints are thought to be necessary,
take two negatives — the one reversed and the
other the right way about? All modern studio
cameras are fitted with repeating backs and
double dark slides, and what is easier than to
put in one plate one way and the other the
reverse? — British Journal of Photography.

Making a Ground-glass Screen

A piece of finely ground glass is not diffi-
cult to make. Two pieces of ordinary glass,
as two spoiled negatives with the whole of the
coating cleaned off, and fine knife powder form
the materials required. One of the pieces of glass
should be fastened by means of five or six brads
or tacks to the surface of a bench or board, tak-
ing care that the heads of the tacks are below
the top surface of the glass. A little knife
powder is then dusted over the glass, and it is
sprinkled with water, and then the other piece
of glass being placed upon the top of it, the two
surfaces are ground together with a constantly
varying motion. By pressing on the top glass
with outspread fingers it is possible to equalize
the pressure over the whole surface. From time
to time the two glasses are washed and wiped
dry to see how the surface is progressing. If
any spots remain bright, they may have especial
attention by putting a little powder on them
and by pressing on the top glass just over them
while continuing the grinding. As both the

surfaces in contact are ground in the process,
it is as well to finish all the clear spots on both
in this way, so that the result of the work is
two focussing screens, both ready for use. A
couple of half-plates should be ground in this
way in less than a quarter of an hour, and if the
powder used is fine the grain of the glass will be
fine also.

Gum Backs for Prints

The commercial photographer often has occa-
sion to deliver prints with gummed backs. The
gum must be dry, but it must have adhesive
qualities that will permit of its being mounted
on any suitable support simply by moistening
it as one does a postage-stamp.

The following formulae have been found very
satisfactory, and should be added to the infor-
mation in your scrap book of formulae, if you
have such a means of keeping information where
it may always be found when you need it:

Water 5 parts

Fish glue, or liquid glue 10 parts

Glucose (liquid) .... 5 parts

Alcohol (denatured) ... 5 parts

Heat the water and stir in the glue, glucose
and alcohol. Add a few drops of carbolic acid,
to prevent fermentation, and thin down with
water to the required consistency.

The following modified dextrin formula may
also be used with good results:

Dextrin 10 parts

Water 10 parts

Acetic acid (glacial) ... 5 parts

Glucose (liquid) .... 5 parts

Alcohol (denatured) ... 5 parts

Warm the dextrin and water, add the acetic
acid, and heat. Stir in the glucose, and finally
add the alcohol and a few drops of carbolic acid.
Thin with water as required. The function of
the glucose is to prevent the adhesive coating
from cracking. If the coating is too tacky when
dry, use less glucose.

The solution is applied with a brush and the
prints hung up in a dry atmosphere. They dry
very quickly, unless too much glucose has been
used, and should remain dry so long as they
are not subject to dampness. — Photo Digest.

Cold Weather Difficulties

The most experienced professional will occa-
sionally turn out a batch of poor negatives,
especially during the cold weather. As a rule
he is able to put his finger on the cause of the
trouble, but there are instances where the cause
is so simple that it is apt to be overlooked.

Fuzzy, lifeless negatives can often be accounted
for by the moisture in a warm studio condensing
on a lens brought in from a cold room. Many
professionals keep their lenses in a handy cup-
board in some room near the studio. The
studio may be quite warm, but the cupboard
may be like an icehouse. A lens brought straight
from this low temperature will very soon be

THE WORKROOM

543

covered with moisture. The obvious remedy
is to keep the lenses in a warm room.

The same trouble is often met with in commer-
cial photography. An operator, sent out to do
some work in a factory or workshop, goes straight
from the cold outside air into a heated room
and sets up his camera. The moisture collects
on his lens, and, very probably, in the dimly
lighted interior it is not noticed during focussing.
The moisture can always be prevented by waiting
until the lens is brought up to the temperature
of the room.

Another cause, often unsuspected, is actual
haze in the studio. This is generally more
noticeable in full or three-quarter length por-
traits than in large heads, because the further
the camera is away from the sitter the greater
is the amount of intervening haze.

When haze is present, care should be taken to
screen off all light which is not required for the
portrait. It is not wise on dull, hazy days to
open all the blinds. This is often done to secure
greater detail, but very often it only produces
fog. Shielding the lens from the direct rays of
light is not enough; the remedy is to avoid
illuminating the haze between the camera and
the sitter. This is particularly important when
artificial light is used. Winter haze can, of course
be considerably reduced by keeping the studio
warm and dry.

There are times, too, when the light appears
good but is so lacking in actinic power that
even the most experienced operator may under-
expose. To avoid this some firms insist on their
operators exposing and developing a plate twice
a day. Certainly on busy days, when the devel-
oping is left until the evening, this method, or the
use of an exposure meter, will often save a batch
of negatives.

Even when exposures are correct, a cold
developer will lead to weak, lifeless negatives.
If the professional does nothing to raise the
temperature of his developer, when a spell of
cold weather comes along, what can he expect
for his thoughtlessness but underdeveloped
negatives? Every developing solution loses its
power rapidly as its temperature falls, and a
very cold solution has scarcely any developing
power at all. The temperature should never
be below 65°.

When the inexperienced worker encounters
under-exposure or under-development, he gener-
ally jumps to the other extreme. He forgets
that over-exposure will produce flatness and that
a developer which is too hot will produce fog. — ■
Professional Photographer.

Prize Slides and How to Make Them

The production of a first-class lantern slide
is acknowledged to be a hall mark of good
technic. Not only is this so, but a good lantern
slide goes even one better, and gives a picture
with a far longer range of tones and more deli-
cate gradations than any other printing process,
with the exception perhaps of the multiple gum.

Again, lantern slides provide those workers
who are of an experimental bent with a most
interesting and exciting field for research.

On starting lantern-slide making the first

stumbling-block is, what is the correct density?
A fairly good test in the case of black and white
slides is to look through the most dense part
of the slide at some fairly small print, held about
two feet behind the slide, illuminated by a bat's-
wing burner. If now you are able to read the
print, the slide should, as far as density in
the shadows is concerned, be about right; at
the same time the highest lights should have a
suspicion of a deposit or a very slight veil all
over them. This type of slide, it will be found,
works fairly well with any illuminant.

Warm-toned slides are more difficult to judge,
owing to the color of the deposit; the more violet
the slide is by transmitted light the greater the
density.

It is, of course, whenever possible, best to try
slides, especially warm-toned ones, in the lan-
tern, as it is only in this way that the slide-
maker can learn the required density of his
slides.

With regard to negatives, any type of nega-
tive can be made to give a good slide, but those
most suitable for P. O. P. printing will make the
best black and white slides, but for the warmer
tones a thin bright negative will give the brighter
slide and the better color.

All spots, pinholes, scratches, etc., should be
carefully "doctored" on the negative.

The best slides undoubtedly are made by
reduction in the enlarger or by copying, etc.
The reason for this is not difficult to find.
Firstly, it is next door to impossible to obtain
a negative and lantern plate with true surfaces,
consequently optical contact cannot be obtained,
which means an attendant loss of definition in
the final slide. For the same reason the chances
of bits of dust getting between the negative and
lantern plate will also diminish the chances of
critical definition.

Exposure should be such that when the high-
lights of a picture just begin to veil over in the
developer, the shadows have just sufficient den-
sity but are at the same time not in the least
clogged up or choked. This sounds a tall order,
but with a little experimenting it will be found
quite easy to judge the exposure fairly correctly
in nine cases out of ten.

Remember that a short exposure to a power-
ful light gives warmer and brighter tones than
a lengthy exposure to a weak light.

Developers. Warm black, sepia, and warm
browns are always the favorite tones for effec-
tive slides, and the following formulae, worked
out by the late Mr. F. P. Cembrano, can be
recommended as among the best for this purpose.

Four solutions are required, and all keep well
for at least a year:

No. 1

Pyro | oz.

Sodium sulphite 2 oz.

Citric acid \ dr.

Water 5 oz.

No. 2
Potassium hydrate . . . \ oz.

Water 5 oz._

(This solution must be well shaken before using.)

544

THE WORKROOM

No. 3

Ammonium bromide
Water

No. 4
Ammonium carbonate
Water

5 oz.

f oz.
5 oz.

This works well with any lantern plate if
balanced up to suit that plate. An idea of the
colors obtainable with various constituents of
developer is appended:

Average

Time of
Pyro. No. 2. No. 3. No. 4. Water. Develop- Color.
Drops. Drops. Drops. Drops. Oz. ment.

30 50 30 60 1 1 4 Warm black

30 50 30 90 2 6 Cold sepia

30 50 30 100 3 10 Warm brown

30 50 40 120 4 15 Violet black

The above gives some idea of the colors obtained
with various alterations to the developer's com-
position. Of course, the reader may ring any
change he cares to try in his constituents, and
so obtain varying colors.

After development the plate is swilled, fixed,
and washed in the ordinary way.

The next developer recommended is more
suitable for slow chloride or chloro-bromide
plates, but works fairly well with the faster
"black tone" bromide plates.

It is a good acid amidol formula, worked out
by M. Balagny, and published in the Societe
Fran false Proceedings. For transparency and
beauty of results it is hard to beat, while the
regularity of the pure sepia slide obtained is
extraordinary. The exposure required is normal,
and the density of the slide depends on the time
of development. An average slide should be
fully developed in ten minutes; short develop-
ment gives a weak slide, longer development a
richer and stronger slide.

The developer is compounded as follows:

Amidol 11 gr.

Bisulphite of soda solution . 3^ dr.
Ammonium bromide, 10 per

cent, solution .... 2 dr.

Water 10 oz.

The sodium bisulphite solution is made by
dissolving 140 grains of sodium sulphite in one
ounce of water, and adding the above solution
to 4j drams of bisulphite lye solution. The
bisulphite lye solution can be bought or it can
be made by dissolving 3 ounces of sodium sul-
phite in 7 ounces of warm water. When the
solution is cool add § ounce of sulphuric acid
drop by drop, constantly stirring the solution.
This operation should be performed out of
doors, as a great quantity of sulphurous acid
is given off, which is a most irritating gas to
inhale.

The image on making its appearance is of a

chocolate-brown color, and as development
proceeds the color changes to sepia.

This developer has given excellent results with
Imperial gaslight, Ilford Alpha, Edwards' Kris-
tal, and Paget slow. The results on Marion
chloro-bromide are fair, the image taking a long
time to develop, the same thing happening with
Wratten's. This developer should be used at
65° F.

The following hydroquinone developer works
practically with any lantern plate. The devel-
oper is made up as follows:

No. 1

Water . 10 oz.

Sodium sulphite .... 250 gr.

Hydroquinone 40 gr.

Sodium carbonate . . . 250 gr.

No. 2
Ammonium bromide
Ammonium carbonate
Water

240 gr.

10 oz.

For black tones take 2 ounces of 1 and 6
drops of 2. For warmer tones add more of 2
and prolong exposure.

The temperature of the developer must be at
least 65 ° F. The tone given on Paget slow and
chloride plates in general is a cold sepia, while
Wratten, Imperial special transparency, etc.,
give a very cold black. Time of development,
six to ten minutes.

A most important point in using this developer
is to well rinse the plates between developing
and fixing, otherwise a yellow hydroquinone
stain is very apt to appear. There is also this
tendency if developing is forced.

This note on lantern-slide developers would
not be complete without reference to one worked
out by Kodak Co. for Wratten plates, giving
a very fine slate-gray on violet-black. The
formula is published in their brochure on lantern
slides, and is thus given:

No
Metol
Hydroquinone

Sodium sulphite
Sodium carbonate
Water . . .

No. 2

Ammonium sulphocyanide
Potassium bromide
Water

44 gr.
22 gr.

1 oz.

1 oz.
20 oz.

2\ oz.
60 gr.
10 oz.

For use take 7 drams of 1 and 1 dram of 2.
The plate should be developed in two and a
quarter minutes at a temperature of 65° F.
The exposure required is 50 per cent, above
normal.

As the deposit is white by reflected light, and
the image therefore hard to judge, it is advis-
able to work by time as much as possible. —
Amateur Photographer.

The rapidity, smoothness, and precision afforded

in the operation of

Century Studio Apparatus

are valuable requisites in every progressive studio

Portrait film or Plates may be
used in the Double View Holders
which fit the 11 x 14, 8 x 10, or
5x7 reversible, spring actuated
Ground Glass Adapter Backs,
interchangeably attached to the
sliding carriage.

The operator can make full
sized negatives, or by the use of
diaphragms and lateral movement
of the sliding carriage, two 7x11
negatives on the same plate with
the 11 x 14 back, or two 5x8 negatives with the 8 x 10 back.

The platform of the Semi-Centennial Stand, with camera in
position, can be quickly and easily elevated to a height of 49
inches, or lowered to within 14 inches of the floor, and locked in
any desirable position.

Send for Professional Catalog

CENTURY CAMERA DEPARTMENT

EASTMAN KODAK COMPANY

ROCHESTER, N. Y

WILLIAM J. DORNAN. PRINTER. PHILA

The roundness and
brilliancy of the print on

£n

Fn\

ifiP

tells the story of Artura
quality.

The paper without a
disappointment.

ARTURA DIVISION,

EASTMAN KODAK COMPANY,

ROCHESTER, N. Y.

All Dealers'.

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3 9088 01549 0931

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